tag:blogger.com,1999:blog-44963187168015765022024-03-14T10:15:54.925-07:00SAY IT NOW british instituteEntre las múltiples actividades que desarrolla la Fundación E.M. Trevisi el impulso que viene dando a la Villa de Guadarrama en materia de aprendizaje de la lengua inglesa se refleja en la gran cantidad de visitas que recibe nuestra nuestro blog y la Web de la Fundación. El proyecto GUADARRAMA BILINGüE da prueba de ello. Implementado durante tres años, los cursants mostraron una gran satisfacción por los avances que manifestaba su aprendizaje. Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-4496318716801576502.post-36088120584925993342012-11-12T01:16:00.004-08:002014-04-22T11:01:48.932-07:00¿POR QUÉ NOS CUESTA TANTO APRENDER A HABLAR INGLÉS?<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<span style="-webkit-text-size-adjust: none; background-color: white; font-family: Verdana, sans-serif; line-height: 14.25px;">Por Carlos A. Trevisi</span><span style="-webkit-text-size-adjust: none; background-color: white; font-family: Verdana, sans-serif; line-height: 14.25px;"> </span><br />
<div class="paragraph_style_1" style="-webkit-text-size-adjust: none; background-color: white; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px;">
<span style="font-family: Verdana, sans-serif; line-height: 15.2px;">Fundación Emilia Mª Trevisi</span></div>
<div class="paragraph_style_1" style="-webkit-text-size-adjust: none; background-color: white; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px;">
<span style="font-family: Verdana, sans-serif;"><span class="style" style="line-height: 11px;">
</span></span></div>
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<span style="font-family: Verdana, sans-serif;">
La necesidad tan manifiesta de saber inglés no se corresponde con los recursos
que contamos para que se imparta la LENGUA. Normalmente nuestros esfuerzos se
orientan más bien a enseñar los “cómos” del IDIOMA – conocimiento de la
GRAMÁTICA- que al dominio del HABLA –ADQUISICIÓN DEL REFLEJO LINGÜÍSTICO.<span class="style" style="line-height: 11px;"><br />
</span></span></div>
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<span style="font-family: Verdana, sans-serif;">
Poco o nada se ha hecho en el ámbito profesional en cuanto a una actualización
metodológica que apunte al habla, al extremo de que una gran mayoría de
profesores a cargo de la materia en centros primarios e institutos no tienen
dominio de la lengua, aunque sí del idioma, ámbito en el cual se prodigan
impartiendo una gramática cuyos contenidos aplican al manejo de traducciones y
estructuras desencajadas de la realidad como nos hace ver Savater en “La Nación”
de Buenos Aires del 15 de octubre de 1989 : “cuando pienso en una lectura
educativa me imagino uno de esos diálogos becketianos recomendados por los
oligofrénicos profesionales para aprender idiomas, “Es su padre torero o posee
una casa en las afueras”, “Mi vecino me ama y tiene una bufanda”, agregando que
puede asegurar que aprendió a leer inglés gracias a <span class="style_2" style="font-style: italic; line-height: 15.2px;">“The
Lord of the Rings”, dos diccionarios y un maravillosamente largo mes de agosto”. </span><span class="style_3" style="font-weight: 700; line-height: 15.2px;">(1)</span></span></div>
<div class="paragraph_style_3" style="-webkit-text-size-adjust: none; background-color: white; line-height: 15.2px; opacity: 1; padding-bottom: 13px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
El principal problema radica en el hecho de que los profesores que imparten
inglés no tienen la formación académica mínima imprescindible para abordar la
complejidad de la tarea. Saber inglés en términos de lo que se aprende en la
universidad estudiando filología no es suficiente.</span></div>
<div class="paragraph_style_3" style="-webkit-text-size-adjust: none; background-color: white; line-height: 15.2px; opacity: 1; padding-bottom: 13px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
Un profesor de inglés necesita conocimientos que nuestras carreras de filología
no imparten. No es momento de abundar en carencias, pero básicamente se podría
destacar que nuestros profesores tendrían que abordar una currícula que
contemplara MÍNIMAMENTE dos años completos de FONÉTICA – un primer curso de
SONIDOS y un segundo curso de ENTONACIÓN; dos años completos de LABORATORIO DE
LENGUAS-algo tan fácil hoy día aprovechando las ventajas que ofrecen las
tecnologías digitales; PEDAGOGÍA (una año); DIDÁCTICA (un año) y PRÁCTICA DE LA
ENSEÑANZA al frente de un curso (un año) y algunas materias de apoyo que, tal
cual sucede con nuestras filologías adentren al profesor en el ámbito de la
cultura de la especialidad. </span></div>
<div class="paragraph_style_3" style="-webkit-text-size-adjust: none; background-color: white; line-height: 15.2px; opacity: 1; padding-bottom: 13px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
Esta nueva modalidad no tendría porqué excluir los contenidos que hoy día se
imparten en filología pero habría que hacer una revisión acabada de los
objetivos que se persiguen en función de las metas a alcanzar y crear una nueva
carrera –un PROFESORADO de INGLÉS- que contemplara todas las necesidades que
tendría que abordar un profesional de la enseñanza de la lengua.<span class="style_4" style="font-weight: 700; line-height: 15.2px;"> </span><span class="style_3" style="font-weight: 700; line-height: 15.2px;">(2)</span></span></div>
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<span style="font-family: Verdana, sans-serif;">
No sería necesario “inventar” lo que acabamos de exponer. En la Argentina hace
décadas que existen este tipo de profesorados y si algo ha caracterizado en
materia de enseñanza del inglés a la Argentina es la calidad de los egresados de
estos centros universitarios de estudio. Reúnen todas las características de
nuestra filología inglesa pero además agregan todo lo específico para la
impartición de la enseñanza de la lengua. <span class="style_3" style="font-weight: 700; line-height: 15.2px;">(3)</span></span></div>
<div class="paragraph_style_4" style="-webkit-text-size-adjust: none; background-color: white; font-style: italic; font-weight: 700; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
Referencias</span></div>
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<span style="font-family: Verdana, sans-serif;">
<span class="style_5" style="font-style: normal; font-weight: 400; line-height: 11px;"><br />
</span>
<span class="style_6" style="font-style: normal; font-weight: 400; line-height: 15.2px;">
1.</span> Ver TRADUZCA INGLÉS,
Biblos, 1992. Argentina, del autor de la presente.<span class="style_7" style="font-style: normal; font-weight: 400; line-height: 11px;"><br />
</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="style_6" style="font-style: normal; line-height: 15.2px;">
2.</span> </span></div>
<div class="paragraph_style_5" style="-webkit-text-size-adjust: none; background-color: white; font-style: italic; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px; text-align: justify;">
<span class="style_2" style="line-height: 15.2px;"><span style="font-family: Verdana, sans-serif;">
para abundar en el tema, v er.</span></span></div>
<div class="paragraph_style_5" style="-webkit-text-size-adjust: none; background-color: white; font-style: italic; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/hablaringleslibro.htm" style="line-height: 14.424166727066039px; text-decoration: initial;" title="http://www.fundacionemiliamariatrevisi.com/hablaringleslibro.htm">
http://www.fundacionemiliamariatrevisi.com/hablaringleslibro.htm</a><span class="style" style="font-style: normal; line-height: 11px;"><br />
</span>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/educationalarticles3.htm" style="line-height: 14.424166727066039px; text-decoration: initial;" title="http://www.fundacionemiliamariatrevisi.com/ingles/educationalarticles3.htm">
http://www.fundacionemiliamariatrevisi.com/ingles/educationalarticles3.htm</a><span class="style" style="font-style: normal; line-height: 11px;"><br />
</span>
<a href="http://www.fundacionemiliamariatrevisi.com/propaganda/sayitnow.htm#a" style="line-height: 14.424166727066039px; text-decoration: initial;" title="http://www.fundacionemiliamariatrevisi.com/propaganda/sayitnow.htm#a">
http://www.fundacionemiliamariatrevisi.com/propaganda/sayitnow.htm#a</a></span><span class="style" style="font-style: normal; line-height: 11px;"><br />
</span></span></div>
<div class="paragraph_style_5" style="-webkit-text-size-adjust: none; background-color: white; font-style: italic; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">3.<span class="style_2" style="line-height: 15.2px;">Recomendamos
incursionar por</span></span></div>
<div class="paragraph_style_5" style="-webkit-text-size-adjust: none; background-color: white; font-style: italic; line-height: 15.2px; opacity: 1; padding-bottom: 0px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span class="style_2" style="line-height: 15.2px;"> </span><span style="color: blue;"><a href="http://www.buscouniversidad.com.ar/carrera-ingles.html" style="line-height: 14.424166727066039px; text-decoration: initial;" title="http://www.buscouniversidad.com.ar/carrera-ingles.html">http://www.buscouniversidad.com.ar/carrera-ingles.html</a><span class="style_2" style="line-height: 15.2px;"> </span></span></span></div>
<br />
<br />Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-33312566850939399662012-09-29T08:20:00.003-07:002012-10-13T11:13:00.275-07:00OBAMA SURGES AHEAD AMONG CATHOLIC VOTERS<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: Verdana, sans-serif;">SAY IT NOW <br />british institute</span></b></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">Poll: Obama surges ahead among Catholic voters</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sep.
27, 2012, By
Daniel Burke, Religion News Service</span></div>
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<br /></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">U.S.
President Barack Obama accepts the 2012 U.S Democratic presidential nomination
during the final session of Democratic National Convention in Charlotte, N.C.,
Sept. 6. (CNS/Reuters/Jim Young)</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">President
Barack Obama's support among Catholic voters has surged since June, according
to a new poll, despite a summer that included the Catholic bishops' religious
freedom campaign and the naming of Rep. Paul Ryan, a Catholic, as the GOP's
vice-presidential candidate.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">On
June 17, Obama held a slight edge over Mitt Romney among Catholics (49percent
to 47 percent), according to the Pew Research Center. Since then, Obama has
surged ahead, and now leads 54 percent to 39 percent, according to a Pew poll
conducted Sept. 16.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Among
all registered voters, Obama leads Romney 51 percent to 42 percent, according
to Pew.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Obama
and Romney are essentially tied among white Catholics, which some pollsters
call the ultimate swing group.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">On
Monday, Romney unveiled his Catholics for Romney Coalition, which includes
numerous politicians, beer magnate Pete Coors and Princeton University
intellectual Robert P. George. The Obama campaign also has a Catholic
coalition.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">From
June 21 to July 4, the U.S. Catholic bishops held a "Fortnight for
Freedom," with Masses, prayer groups and presentations in dozens of
dioceses nationwide. The campaign was directed in part against an Obama
administration mandate that requires some religious institutions, such as
colleges and hospitals, to provide cost-free contraception coverage to
employees.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">John
C. Green, an expert on religion and politics at the University of Akron in
Ohio, said Obama's surge among Catholic voters does not mean the bishops'
campaign was ineffective. But religious freedom is not the most salient issue
for Catholics during an election dominated by economic concerns, he said.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">"It's
not the issue that most middle-of-the-road Catholics are responding to,"
Green said.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">In
mid-August, Romney named Ryan, a congressman from Wisconsin and lifelong
Catholic, as his vice-presidential nominee. While many conservative Catholics
cheered the move, Romney received no "Catholic bounce" from selecting
Ryan, according to the Pew poll. Obama's vice-presidential running mate, Joe
Biden, is also Catholic.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Liberal
Catholics have chastised Ryan for using his Catholic faith to defend his GOP
budget plan, which lowers taxes on the wealthy while cutting programs for the
poor.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Among
white evangelicals (they do not accept Jesus as the Messiah, they are expecting
the Messiah still to come, most probably Romney is their Messiah, the one who
will abolish the middle class and deprive the poor of food, shelter, assistance
etc, all that is necessary to live: this is their PROLIFE POSITION)), another
crucial religious constituency, Romney's support has inched up since July, from
69 percent to 74 percent, according to the Pew poll, while Obama's percentage
declined.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Despite
concerns that Obama's support for same-sex marriage would alienate
African-American Protestants, 95 percent still back Obama over Romney.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">Obama
also leads among Americans with no religious affiliation, 65 percent to 27
percent. Romney leads among Americans who attend worship services at least
weekly, 51percent to 42 percent.</span></div>
<div style="margin: 0in;">
<span style="font-family: Arial, Helvetica, sans-serif;">The
margin of error for the September survey of Catholic voters is plus or minus
5.1 percentage points, according to Pew.</span></div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-49650993626549717762012-09-12T01:47:00.004-07:002012-10-13T11:13:39.104-07:00THE FUN THEY HAD<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<br />
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<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;">The Fun They Had</span><br />por Isaac Asimov</span></div>
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<span style="font-family: Verdana, sans-serif;">Margie even wrote about it that night in her diary. On the page headed May 17, 2157, she wrote, "Today, Tommy found a real book!"<br />It was a very old book. Margie's grandfather once said that when he was a little boy his grandfather told him that there was a time when all stories were printed on paper.<br />They turned the pages, which were yellow and crinkly, and it was awfully funny to read words that stood still instead of moving the way they were supposed to--on a screen, you know. And then, when they turned back to the page before, it had the same words on it that it had had when they read it the first time.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br />"Gee," said Tommy, "what a waste. When you're through with the book, you just throw it away, I guess. Our television screen must have had a million books on it and it's good for plenty more. I wouldn't throw it away."<br />"Same with mine," said Margie. She was eleven and hadn't seen as many telebooks as Tommy had. He was thirteen. She said, "Where did you find it?"<br />"In my house." He pointed without looking, because he was busy reading. "In the attic." "What's it about?" "School."<br /> </span></div>
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<span style="font-family: Verdana, sans-serif;">Margie was scornful. "School? What's there to write about school? I hate school."<br />Margie always hated school, but now she hated it more than ever. The mechanical teacher had been giving her test after test in geography and she had been doing worse and worse until her mother had shaken her head sorrowfully and sent for the County Inspector.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br />He was a round little man with a red face and a whole box of tools with dials and wires. He smiled at Margie and gave her an apple, then took the teacher apart. Margie had hoped he wouldn't know how to put it together again, but he knew how all right, and, after an hour or so, there it was again, large and black and ugly, with a big screen on which all the lessons were shown and the questions were asked. That wasn't so bad. The part Margie hated most was the slot where she had to put homework and test papers. She always had to write them out in a punch code they made her learn when she was six years old, and the mechanical teacher calculated the mark in no time.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br />The Inspector had smiled after he was finished and patted Margie's head. He said to her mother, "It's not the little girl's fault, Mrs. Jones. I think the geography sector was geared a little too quick. Those things happen sometimes. I've slowed it up to an average ten-year level. Actually, the over-all pattern of her progress is quite satisfactory." And he parted Margie's head again.<br />Margie was disappointed. She had been hoping they would take the teacher away altogether. They had once taken Tommy's teacher away for nearly a month because the history sector had blanked out completely.<br />So she said to Tommy, "Why would anyone write about school?"<br />Tommy looked at her with very superior eyes. "Because it's not our kind of school, stupid. This is the old kind of school that they had hundreds and hundreds of years ago." He added loftily, pronouncing the word carefully, "Centuries ago."</span></div>
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<span style="font-family: Verdana, sans-serif;"><br />Margie was hurt. "Well, I don't know what kind of school they had all that time ago." She read the book over his shoulder for a while, then said, "Anyway, they had a teacher."<br />"Sure they had a teacher, but it wasn't a regular teacher. It was a man." "A man? How could a man be a teacher?" "Well, he just told the boys and girls things and gave them homework and asked them questions." "A man isn't smart enough." "Sure he is. My father knows as much as my teacher." "He can't. A man can't know as much as a teacher." "He knows almost as much, I betcha."<br />Margie wasn't prepared to dispute that. She said, "1 wouldn't want a strange man in my house to teach me."<br />Tommy screamed with laughter. "You don't know much, Margie. The teachers didn't live in the house. They had a special building and all the kids went there." "And all the kids learned the same thing?" "Sure, if they were the same age."<br />"But my mother says a teacher has to be adjusted to fit the mind of each boy and girl it teaches and that each kid has to be taught differently."<br />"Just the same they didn't do it that way then. If you don't like it, you don't have to read the book."<br />"I didn't say I didn't like it," Margie said quickly. She wanted to read about those funny schools.<br />They weren't even half-finished when Margie's mother called, "Margie! School!" Margie looked up. "Not yet, Mamma."<br />"Now!" said Mrs. Jones. "And it's probably time for Tommy, too."</span></div>
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<br /></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">Margie said to Tommy, "Can I read the book some more with you after school?"<br />"Maybe," he said nonchalantly. He walked away whistling, the dusty old book tucked beneath his arm.<br />Margie went into the schoolroom. It was right next to her bedroom, and the mechanical teacher was on and waiting for her. It was always on at the same time every day except Saturday and Sunday, because her mother said little girls learned better if they learned at regular hours.<br />The screen was lit up, and it said: "Today's arithmetic lesson is on the addition of proper fractions. Please insert yesterday's homework in the proper slot."<br />Margie did so with a sigh. She was thinking about the old schools they had when her grandfather's grandfather was a little boy. All the kids from the whole neighborhood came, laughing and shouting in the schoolyard, sitting together in the schoolroom, going home together at the end of the day. They learned the same things, so they could help one another on the homework and talk about it.<br />And the teachers were people...<br />The mechanical teacher was flashing on the screen: "When we add the fractions 1/2 and 1/4..."<br />Margie was thinking about how the kids must have loved it in the old days. She was thinking about the fun they had.<br />-----------------------------<br />Written in 1951 for a syndicated newspaper page, 'The Fun They Had' was later published in Fantasy and Science Fiction Magazine.<br />The Fun they Had :<span style="color: blue;"> </span><a href="http://users.aber.ac.uk/dgc/funtheyhad.html" target="_blank" wrc_done="true">http://users.aber.ac.uk/dgc/funtheyhad.html</a> </span><span style="color: blue; font-family: Tahoma; font-size: x-small;"><br /> </span></div>
<br />
<br />
<span style="font-family: Verdana, sans-serif;">Ayuda para interpretar</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="color: blue;">G</span>RAMÁTICA <span style="color: blue;">I</span>NGLESA <span style="color: blue;">I</span>NTERACTIVA</b> (CD)</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Más de 600 oraciones que abordan </span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">toda la gramática inglesa con diccionario, tiempos verbales, verbos especiales, ejercitación y demás</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div align="center" class="MsoNormal">
<span style="font-family: Arial, sans-serif; font-size: 14pt;">Se puede consultar igualmente </span></div>
<div align="center" class="MsoNormal">
<a href="http://justenglish.blogspot.com.es/"><span style="font-family: Verdana, sans-serif;">http://justenglish.blogspot.com.es/</span></a></div>
</div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-17708133835070292522012-09-11T08:52:00.002-07:002012-11-12T01:57:18.958-08:00GOOD NEWS (VI)<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1FgOkzQkZRk8iv6vghG7LdLKmjOP28DMRxMVfuiOQWfRmrbnxwTAb0qtcNOEWcJA1xOZHpRPtwoYftxDmTSG6ienfmxOzzh8T1yQxx3fEiVQfxN1Gjx9_SYgyolc8mbU8T_pDZUoXWu7/s1600/SAY+IT+NOW.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1FgOkzQkZRk8iv6vghG7LdLKmjOP28DMRxMVfuiOQWfRmrbnxwTAb0qtcNOEWcJA1xOZHpRPtwoYftxDmTSG6ienfmxOzzh8T1yQxx3fEiVQfxN1Gjx9_SYgyolc8mbU8T_pDZUoXWu7/s1600/SAY+IT+NOW.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #274e13; font-family: Verdana, sans-serif;"><b>SAY IT NOW<br />british institute</b></span></td></tr>
</tbody></table>
<br />
<br />
<div style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif;">
<span style="background-color: white; font-family: arial, sans-serif;"><b><span style="color: maroon; font-family: Verdana;">GOOD NEWS!, </span></b></span><span style="font-family: Tahoma;"><span style="background-color: white;"><span style="color: #234600; font-family: arial, sans-serif;"> </span><b><span style="color: #234600; font-family: arial, sans-serif;">nuestro periódico en inglés </span></b></span></span></div>
<div style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 22px;">
<span style="font-family: Tahoma;"><span style="background-color: white;"><b><span style="color: #234600; font-family: arial, sans-serif;"> </span>Números</b></span></span><span style="font-family: Verdana;"><span style="font-family: Tahoma;"><span style="background-color: white;"><span style="color: #234600; font-family: Verdana;"> </span></span></span><span style="color: maroon;"><span class="Apple-style-span" style="font-weight: 700;"><span style="color: #1111cc;"><a href="http://www.fundacionemiliamariatrevisi.com/goodlio3.htm" style="-webkit-transition: color 0.3s initial initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline: none; text-decoration: none;">I</a> - </span><span style="font-family: 'Times New Roman';"><a href="http://www.fundacionemiliamariatrevisi.com/goodlio4.htm" style="-webkit-transition: color 0.3s initial initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline: none; text-decoration: none;" target="_blank"><span style="font-family: Verdana;">II</span></a></span> -<a href="http://www.fundacionemiliamariatrevisi.com/Goodnews.htm" style="-webkit-transition: color 0.3s initial initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline: none; text-decoration: none;" target="_blank"> III</a> - <a href="http://www.fundacionemiliamariatrevisi.com/goodlio5.htm" style="-webkit-transition: color 0.3s initial initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline: none; text-decoration: none;"><span style="color: blue; font-family: Verdana;">IV</span></a><span style="color: blue;"> -</span></span></span></span><span style="color: blue; font-family: Verdana;"><b><span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/GOODLIO6A.htm" style="-webkit-transition: color 0.3s initial initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline: none; text-decoration: none;">V</a></span></b></span></div>
<br />
<div class="MsoNormal">
<span lang="es" style="color: green; font-family: Verdana; font-weight: bold;"><br /></span></div>
<div class="MsoTitle2" style="text-align: center;">
<span lang="es" style="font-size: large;"><b style="color: #333333; text-align: start;"><span style="color: maroon; font-family: Georgia, Times New Roman, serif;">GOOD NEWS!</span></b><span style="font-family: Verdana, sans-serif;"> (VI)</span></span></div>
<div class="MsoTitle2" style="text-align: center;">
<span lang="es" style="font-family: 'Times New Roman';">
</span></div>
<div class="MsoTitle2" style="text-align: center;">
<span lang="es" style="font-family: Verdana, sans-serif;"><b>
AN INTERACTIVE MONTHLY PAPER
FOR RAINY DAYS </b></span></div>
<div class="MsoTitle2" style="text-align: center;">
<span lang="es" style="font-family: Verdana, sans-serif;"><b>
TO BE READ, SCRIBBLED ON, ENJOYED AND THROWN AWAY</b></span></div>
<div class="MsoNormal" style="mso-pagination: none; text-align: center; text-align: center;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none; text-align: center; text-align: center;">
<span lang="es" style="font-family: Verdana, sans-serif;">Carlos A. Trevisi,
Editor-in-Chie</span><span lang="es"><span style="font-family: Verdana, sans-serif;">f</span><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-pagination: none; text-align: center; text-align: center;">
<span lang="en-GB" style="color: black; font-family: Verdana, sans-serif;">
<a href="http://www.fundacionemiliamariatrevisi.com/">
www.fundacionemiliamariatrevisi.com</a></span></div>
<div class="MsoNormal" style="mso-pagination: none; text-align: center; text-align: center;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none; text-align: center; text-align: center;">
<span lang="es" style="color: #cc3300; font-family: Verdana, sans-serif;"><b>JULY /
AUGUST / SEPTEMBER 2012 </b></span></div>
<div class="MsoNormal" style="mso-pagination: none; text-align: center; text-align: center;">
</div>
<br />
<div class="MsoNormal">
<span lang="es" style="color: green; font-family: Verdana; font-weight: bold;">
NEWSPAPERS </span></div>
<h3 align="left" class="r" style="background-color: white; color: #222222; font-family: Verdana; font-weight: normal; margin: 0px; overflow: hidden; padding: 0px; text-align: -webkit-auto; text-overflow: ellipsis; white-space: nowrap;">
<em style="font-style: normal;"><span style="font-size: small;">
<a class="l" href="http://www.washingtonpost.com/" style="color: #1122cc; cursor: pointer; text-decoration: none;" wrc_done="true">
The Washington Post</a></span></em></h3>
<h3 align="left" class="r" style="background-color: white; color: #222222; font-family: Verdana; font-weight: normal; margin: 0px; overflow: hidden; padding: 0px; text-align: -webkit-auto; text-overflow: ellipsis; white-space: nowrap;">
<span style="font-size: small;"><a class="l" href="http://www.washingtonpost.com/" style="color: #1122cc; cursor: pointer; text-decoration: none;" wrc_done="true">
Breaking News, World, US, DC News & Analysis</a> </span></h3>
<h3 align="left" class="r" style="background-color: white; color: #222222; font-family: Verdana; font-weight: normal; margin: 0px; overflow: hidden; padding: 0px; text-align: -webkit-auto; text-overflow: ellipsis; white-space: nowrap;">
<span style="font-size: small;">
</span></h3>
<h3 align="left" class="r" style="background-color: white; color: #222222; font-family: Verdana; font-weight: normal; margin: 0px; overflow: hidden; padding: 0px; text-align: -webkit-auto; text-overflow: ellipsis; white-space: nowrap;">
<a class="l" href="http://www.cnn.com/" style="color: #1122cc; cursor: pointer; text-decoration: none;" wrc_done="true"><span style="font-size: small;">
<em style="font-style: normal;">CNN</em>.com
</span></a></h3>
<h3 align="left" class="r" style="background-color: white; color: #222222; font-family: Verdana; font-weight: normal; margin: 0px; overflow: hidden; padding: 0px; text-align: -webkit-auto; text-overflow: ellipsis; white-space: nowrap;">
<a class="l" href="http://www.cnn.com/" style="color: #1122cc; cursor: pointer; text-decoration: none;" wrc_done="true"><span style="font-size: small;">
Breaking News, U.S., World, Weather, Entertainment</span></a></h3>
<div align="left" class="r" style="background-color: white; color: #222222; font-family: arial, sans-serif; overflow: hidden; padding: 0px; text-align: -webkit-auto; text-overflow: ellipsis; white-space: nowrap;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt;">
<a href="http://www.buenosairesherald.com/" style="text-decoration: none;">
<span lang="es" style="font-family: Verdana;">
Buenos Aires Herald</span></a><span lang="es" style="font-family: Verdana; font-weight: bold;">
</span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">
(Argentina)</span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt;">
<a href="http://www.dailytelegraph.com.au/" style="text-decoration: none;">
<span lang="es" style="color: blue; font-family: Verdana;">
The Daily Telegraph</span></a><span style="font-family: Verdana;"><span lang="es">
</span></span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">
(Australia)</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana;"><span lang="es"> </span></span><span lang="es" style="font-family: Verdana; font-weight: bold;">MORE NEWSPAPERS:
</span>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/fundacion.htm">
<span lang="es" style="font-family: Verdana;">
http://www.fundacionemiliamariatrevisi.com/ingles/fundacion.htm</span></a><span style="font-family: Verdana;"><span lang="es">
</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="color: green;">
<span lang="es" style="font-family: Verdana;">The
Aesthetics of Decay</span></span><span lang="es" style="color: green; font-family: Verdana;"> </span></b></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Verdana;">(New
York: Peter Lang, 2006) </span></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Verdana;">(</span><a href="http://www.dylantrigg.com/book.htm"><span lang="es" style="font-family: Verdana;">http://www.dylantrigg.com/book.htm</span></a><span lang="es" style="font-family: Verdana;">)
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="es"> </span><span lang="es" style="font-family: Verdana;">Dylan Trigg
confronts the </span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">remnants
</span><span lang="es" style="font-family: Verdana;">from the </span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">fallout
</span><span lang="es" style="font-family: Verdana;">of post-industrialism
and postmodernism. Through a considered analysis of memory, place, and
nostalgia, Trigg argues that the decline of reason enables a critique of
progress to emerge. In this ambitious work, Trigg aims to reassess the
direction of progress by situating it in a spatial context. In doing so,
he applies his critique of rationality to modern ruins. The </span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">derelict
</span><span lang="es" style="font-family: Verdana;">factory, abandoned
asylum, and urban </span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">alleyway</span><span lang="es" style="font-family: Verdana;">
all become allies in Trigg's attack on a fixed image of temporality and
progress. The Aesthetics of Decay offers a model of post-rational
aesthetics in which spatial order is challenged by an affirmative ethics of ruin. </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
<span lang="es" style="color: #333333; font-family: Verdana; font-weight: bold;">
Vocabulary </span></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Verdana;">
remnants: vestigio del pasado / fallout: caída/ derelict:
en ruinas / alleyway: travesía, callejón/ </span>
<span lang="es" style="font-family: Verdana; font-weight: bold;">
DICTIONARY</span><span lang="es" style="font-family: Verdana;">:
</span><a href="http://www.wordreference.com/">
<span lang="es" style="font-family: Verdana;">
http://www.wordreference.com</span></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span lang="es" style="color: #156723; font-family: Verdana; font-weight: 700;">
A joke</span></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Arial;">
</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">The Aldi
Doctor...</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">One day,
in line at the company cafeteria, Joe says to Mike, "My elbow hurts like
hell. I guess I'd better see a doctor."</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">"Listen,
you don't have to spend that kind of money," Mike replies.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">"There's
a diagnostic computer down at Aldi's. Just give it a urine sample and
the computer will tell you what's wrong and what to do about It.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">It takes
ten seconds and costs ten dollars. A lot cheaper than a doctor."</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">So, Joe
deposits a urine sample in a small jar and takes it to Aldi's.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">He
deposits ten dollars and the computer lights up and asks for the urine
sample. He pours the sample into the slot and waits.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">Ten
seconds later, the computer ejects a printout:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">"You have
tennis elbow. Soak your arm in warm water and avoid heavy activity. It
will improve in two weeks. Thank you for shopping at Aldi's."</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">That
evening, while thinking how amazing this new technology was, Joe began
wondering if the computer could be fooled.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">He mixed
some tap water, a stool sample from his dog, urine samples from his wife
and daughter, and a sperm sample from himself for good measure.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">Joe
hurries back to Aldi's, eager to check the results. He deposits ten
dollars, pours in his concoction, and awaits the results.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">The
computer prints the following:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">1. Your
tap water is too hard. Get a water softener. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">2. Your
dog has ringworm. Bathe him with anti-fungal shampoo. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">3. Your
daughter has a cocaine habit. Get her into rehab.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">4. Your
wife is pregnant. Twins. They aren't yours. Get a lawyer.</span></div>
<div class="MsoNormal" style="line-height: 114%; margin-bottom: 10.0pt; text-align: justify;">
<span lang="en-AU" style="font-family: Verdana;">5. If you
don't stop playing with yourself, your elbow will never get better.</span></div>
<div class="MsoNormal" style="line-height: 114%; margin-bottom: 10.0pt; text-align: justify; text-justify: inter-word;">
<span lang="en-AU" style="font-family: Tahoma; font-weight: bold;">
VOCABULARY: </span>
<span lang="en-AU" style="color: #156723; font-family: Tahoma; font-weight: bold;">
Concoction: Menjunje / </span>
<span lang="en-AU" style="font-family: Tahoma; font-weight: bold;">
ringworm: tiña </span></div>
<div class="MsoNormal" style="text-align: center;">
<span lang="es" style="font-family: Verdana; font-weight: bold;">
DICTIONARY</span><span lang="es" style="font-family: Verdana;">: </span>
<a href="http://www.wordreference.com/">
<span lang="es" style="font-family: Verdana;">
http://www.wordreference.com</span></a><span lang="es" style="font-family: Verdana;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #156723; font-family: Verdana; font-weight: bold;">ETHIOPIA</span></div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; text-align: justify; text-kashida-space: 50%;">
<span lang="es" style="font-family: Verdana; font-weight: bold;">
Ethiopia</span><span lang="es" style="font-family: Verdana;">,
is a landlocked country located in the </span><a href="http://en.wikipedia.org/wiki/Horn_of_Africa"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Horn
of Africa</span></a><span lang="es" style="font-family: Verdana;">.
It is bordered by </span><a href="http://en.wikipedia.org/wiki/Eritrea"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Eritrea</span></a><span lang="es" style="font-family: Verdana;"> to
the north, </span><a href="http://en.wikipedia.org/wiki/Djibouti"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Djibouti</span></a><span lang="es" style="font-family: Verdana;"> and </span><a href="http://en.wikipedia.org/wiki/Somalia"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Somalia</span></a><span lang="es" style="font-family: Verdana;"> to
the east, </span><a href="http://en.wikipedia.org/wiki/Sudan"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Sudan</span></a><span lang="es" style="font-family: Verdana;"> and</span><a href="http://en.wikipedia.org/wiki/South_Sudan"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">South
Sudan</span></a><span lang="es" style="font-family: Verdana;"> to
the west, and </span><a href="http://en.wikipedia.org/wiki/Kenya"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Kenya</span></a><span lang="es" style="font-family: Verdana;"> to
the south. Ethiopia is the second most populous nation on the continent,
with over 84,320,000 inhabitants, and the tenth largest by area,
occupying 1,100,000 km<sup>2</sup>.
With its capital at </span><a href="http://en.wikipedia.org/wiki/Addis_Ababa"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Addis
Ababa</span></a><span lang="es" style="font-family: Verdana;">,
it is also the most populous</span><a href="http://en.wikipedia.org/wiki/Landlocked_country"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">landlocked
nation</span></a><span lang="es" style="font-family: Verdana;"> in
the world. Ethiopia is one of the oldest sites of human existence known
to scientists.</span><a href="http://en.wikipedia.org/wiki/Ethiopia#cite_note-4"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;"><sup>[5]</sup></span></a><span lang="es" style="font-family: Verdana;"> It
may be the region from which </span><span lang="es" style="font-family: Verdana; font-style: italic;">Homo
sapiens</span><span lang="es" style="font-family: Verdana;"> first
set out for the </span><a href="http://en.wikipedia.org/wiki/Middle_East"><span lang="es" style="color: black; font-family: Verdana; text-decoration: none;">Middle
East</span></a><span lang="es" style="font-family: Verdana;">.
Despite being the major source of the </span><a href="http://en.wikipedia.org/wiki/Nile"><span lang="es" style="font-family: Verdana;">Nile
river</span></a><span lang="es" style="font-family: Verdana;">,
Ethiopia underwent a series of famines in the 1980s, exacerbated by
adverse geopolitics and civil wars. The country has begun to recover,
and it now has one of the biggest economies by GDP in East Africa and
Central Africa. </span></div>
<div class="MsoNormal">
<a href="http://en.wikipedia.org/wiki/Ethiopia">
<span lang="es" style="font-family: Tahoma;">
http://en.wikipedia.org/wiki/Ethiopia</span></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<!--[if pub]>
<p>
<b><font size="2" face="Verdana" color="#008000">INSULTS</font></b></p>
<p class="MsoNormal" style="text-kashida-space: 50%; text-indent: 0pt; margin-top: 0; margin-bottom: 0">
<span lang="en-US" style="font-family: Verdana"><font size="2">She is
what we used to call a suicide blonde –dyed by her own hand </font>
</span>
<span lang="en-US" style="font-family: Verdana; font-weight: bold">
<font size="2">(Saul Bellow)</font></span></p>
<p class="MsoNormal" style="text-kashida-space: 50%; text-indent: 0pt; margin-top: 0; margin-bottom: 0">
<span lang="en-US" style="font-family: Verdana"><font size="2">Never let
one man worry your mind. Find´em, fool´em and forget´em </font></span>
<span lang="en-US" style="font-family: Verdana; font-weight: bold">
<font size="2">(Mae West)</font></span></p>
<p class="MsoNormal" style="text-kashida-space: 50%; text-indent: 0pt; margin-top: 0; margin-bottom: 0">
<span lang="en-US" style="font-family: Verdana"><font size="2">The more
I see of men, the more I admire dogs </font></span>
<span lang="en-US" style="font-family: Verdana; font-weight: bold">
<font size="2">(Marquis de Sevigne)</font></span></p>
<p class="MsoNormal" style="text-kashida-space: 50%; text-indent: 0pt; margin-top: 0; margin-bottom: 0">
<span lang="en-US" style="font-family: Verdana"><font size="2">An
ambassador is an honest man sent to lie abroad for the good of his
country </font></span>
<span lang="en-US" style="font-family: Verdana; font-weight: bold">
<font size="2">(Henry Wotton)</font></span></p>
<p class="MsoNormal" style="text-kashida-space: 50%; text-indent: 0pt; margin-top: 0; margin-bottom: 0">
<span lang="en-US" style="font-family: Verdana"><font size="2">Nixon´s
motto was: “If two wrongs don´t make a right, try three” </font></span>
<span lang="en-US" style="font-family: Verdana; font-weight: bold">
dict. </span><a href="http://www.wordreference.com/"><span lang="es" style="font-family: Verdana; text-decoration: underline"><font size="2">www.wordreference.com</font></span></a></p>
<p class="MsoNormal">
<span lang="es"> </span></p>
<p class="MsoNormal" style="margin-bottom: 14.0pt">
<span lang="es" style="font-family: Verdana; color: #1B832C; font-weight: bold">
<font size="2">Developed Countries</font></span><span lang="es" style="font-family: Verdana; color: #1B832C; font-weight: 700"><font size="2">
</font></span></p>
<p class="MsoNormal" style="text-align: justify; margin-bottom: 14.0pt">
<span lang="es" style="font-family: Tahoma; color: black">
<font size="2">According to the United Nations definition, </font></span><span lang="es" style="font-family: Tahoma; color: black; font-weight: bold"><font size="2">there
is no established convention for the designation of "developed" and "developing" countries </font></span><span lang="es" style="font-family: Tahoma; color: black"><font size="2">or
areas. In common practice, Japan in Asia, Canada and the United States
in North America, Australia and New Zealand in Oceania, and Western
Europe are considered "developed" regions or areas. In international
trade statistics, Israel is also treated as a developed country; and countries of
eastern Europe and the former Soviet Union (U.S.S.R.) countries in
Europe are not included under either developed or developingregions."
Nowadays the more comprehensive group of "developed countries" also
covers the East Asian Tigers (Hong Kong, Singapore, South Korea and
Taiwan). Hong Kong has long been considered developed by the IMF which
grants the formal classification of developed countries. Although Hong
Kong was handed over to the People's Republic of China (PRC), which is
adeveloping country, it is still considered internationally as separate
economic entities (as it has its own currencies - the Hong Kong Dollar)
and a separate political system according to the Basic Law of Hong Kong.
Due to the difference between its economy and that of mainland China,
its territory retain its own border and custom controls.</font></span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-word">
<span lang="es" style="font-family: Tahoma"><font size="2"> </font></span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: inter-word">
<span lang="es" style="font-family: Tahoma"><font size="2"> </font></span><![endif]--><!--[if pub]><xml>
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</b:Page>
</xml><![endif]--><span lang="es" style="color: #1b832c; font-family: Verdana; font-weight: bold;">THE
HAPPY SINGERS</span></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-word;">
<span lang="es" style="font-family: Tahoma;"> </span><span lang="es" style="font-family: Verdana;">
</span>
<span lang="es" style="font-family: Verdana;">
The Happy Singers” are a group of popular singers. At
present they are visiting all parts of the country. They will be
arriving here tomorrow. They will be coming by train and many people
will be waiting for them at the station. They will be staying for five
days. As usual the police will have a difficult time trying to keep
order. They will go back to London next week</span></div>
<br />
<div class="MsoNormal">
<b><u><span style="color: green; font-family: Verdana;">NEW BLOGS</span></u></b></div>
<div class="MsoNormal">
<b><u><span style="color: green; font-family: Verdana;"><br /></span></u></b></div>
<div class="MsoNormal">
<a href="http://www.fundacionemiliamariatrevisi.com/ROCK.wma"><span lang="es" style="color: #135f20; font-family: Verdana; text-decoration: none;">Para </span><span lang="es" style="color: #cc3300; font-family: Verdana; font-weight: bold; text-decoration: none;">ESCUCHAR </span><span lang="es" style="color: #135f20; font-family: Verdana; text-decoration: none;">Y </span><span lang="es" style="color: #135f20; font-family: Verdana; font-weight: bold; text-decoration: none;">EJERCITAR</span><span lang="es" style="color: #135f20; font-family: Verdana; text-decoration: none;"> el texto</span></a><span lang="es" style="color: #135f20; font-family: Verdana;">:</span><span lang="es" style="color: blue; font-family: Verdana; text-decoration: underline;">http://www.fundacionemiliamariatrevisi.com/fasciculos.htm</span>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Verdana; font-weight: bold;">
TREVISI FOUNDATION (FaceBook)</span></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Verdana; font-weight: bold;"> </span><a href="http://www.facebook.com/FundacionTrevisi/timeline"><span lang="es" style="font-family: Verdana; font-weight: bold;">http://www.facebook.com/FundacionTrevisi</span></a><span lang="es">
</span></div>
<div class="MsoNormal">
<span lang="es" style="color: green; font-family: Verdana; font-weight: bold;">
</span></div>
<div class="MsoNormal">
<span lang="es" style="color: maroon; font-family: Verdana; font-weight: bold;"> </span><span style="color: maroon; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA</span></div>
<div class="MsoNormal">
<span lang="es" style="font-family: Verdana; font-weight: bold;">
TEMAS GENERALES</span></div>
<div class="MsoNormal">
<a href="http://elculturaldelasierra.blogspot.com.es/">
<span lang="es" style="font-family: Verdana; font-weight: bold;">
http://elculturaldelasierra.blogspot.com.es/</span></a></div>
<div class="MsoNormal">
<br /></div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in;">
<span style="color: purple;">SAY IT NOW</span></div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in;">
<a href="http://fundacionemiliatrevisi.blogspot.com/">
http://fundacionemiliatrevisi.blogspot.com/</a>
</div>
<br />
<div class="MsoNormal">
<a href="http://www.fundacionemiliamariatrevisi.com/ROCK.wma"><span lang="es" style="color: #135f20; font-family: Verdana; text-decoration: none;">Para </span>
<span lang="es" style="color: #cc3300; font-family: Verdana; font-weight: bold; text-decoration: none;">
ESCUCHAR </span>
<span lang="es" style="color: #135f20; font-family: Verdana; text-decoration: none;">
Y </span>
<span lang="es" style="color: #135f20; font-family: Verdana; font-weight: bold; text-decoration: none;">
EJERCITAR</span><span lang="es" style="color: #135f20; font-family: Verdana; text-decoration: none;">
el texto</span></a><span lang="es" style="color: #135f20; font-family: Verdana;">:
</span>
<span lang="es" style="color: blue; font-family: Verdana; text-decoration: underline;">
http://www.fundacionemiliamariatrevisi.com/fasciculos.htm</span><span lang="es" style="font-family: Verdana;">.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="line-height: 14.25pt; margin-bottom: 14.0pt;">
<span lang="es" style="color: #1b832c; font-family: Verdana; font-weight: bold;">
ARGENTINA´S BAD HABITS</span></div>
<div class="MsoNormal" style="line-height: 14.25pt; margin-bottom: 14.0pt; text-align: center;">
<a href="http://www.nysun.com/arts/argentinas-bad-habits/9690/">
<span lang="es" style="font-family: Verdana;">
http://www.nysun.com/arts/argentinas-bad-habits/9690/</span></a><span lang="es">
</span></div>
<div class="MsoNormal" style="line-height: 14.25pt; margin-bottom: 14.0pt; text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
<span lang="es" style="font-family: Verdana;">
Roughly 200 years ago, two countries in the Americas
declared their independence from their colonial masters. Both had
abundant land, natural resources, good ports, a temperate climate -
seemingly all the makings of a great nation.</span></div>
<div class="MsoNormal" style="line-height: 14.25pt; margin-bottom: 14.0pt; text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
<span lang="es" style="font-family: Verdana;">
Two centuries later, the United States was the richest
country in the history of the world, while Argentina was setting records
with the three largest defaults in history - roughly $100 billion to its
foreign creditors, and billions more to the World Bank and the IMF. Its
banking system in ruins, its economy devastated, its credit rating
destroyed, the government was fighting to keep the poverty rate below
50%.</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
<span lang="es" style="font-family: Verdana;">
Neither bad luck nor destiny drove Argentina from crisis
to crisis; bad government did. Commodity wealth made Argentina one of
the richest countries in the world until well into the 20th century. </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-word;">
<a href="file:///C:/Users/Carlos/AppData/Local/Documents%20and%20Settings/Carlos/Escritorio/www.focal.ca/pdf/argentina_03.pdf">
<span lang="es" style="color: #156723; font-family: Verdana; font-weight: bold; text-decoration: none;">
Argentina: Governnance in Crisis</span></a><span lang="es" style="color: #156723; font-family: Verdana;">, </span><span lang="es" style="font-family: Tahoma;">Paul
Alexander Haslam, FOCAL Senior Analyst Executive </span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-word;">
<span lang="es" style="color: #1b832c; font-family: Tahoma; font-weight: bold;">
Summary</span><span lang="es" style="font-family: Tahoma; font-weight: bold;">
</span><span lang="es" style="font-family: Tahoma;">
Although the origins of the crisis were to be found in poor economic
policy decisions that led to a chaotic devaluation, its dramatic
denouement in December 2001 and subsequent development over the course
of 2002 were deeply conditioned by political factors. The Argentine
crisis was and remains a crisis of governance in the most profound sense.</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-word;">
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-word;">
<span lang="es" style="font-family: Tahoma; font-weight: bold;">
DICTIONARY</span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-word;">
<span lang="es" style="color: blue; font-family: Verdana;">
www.wordreference.com</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%;">
<span style="font-family: Verdana; font-weight: 700;">LA FUNDACIÓN EMILIA MARIA TREVISI NO
NECESARIAMENTE COINCIDE CON LAS OPINIONES DE TERCEROS CUYOS ARTÍCULOS
EDITA GOOD NEWS</span></div>
<br />
<br />
<!--[if pub]>
<p class="MsoTitle2" style="text-align: center">
<span lang="es" style="font-size: 48.0pt; font-family: Times New Roman">
Good News</span><span lang="es" style="font-family: Times New Roman">!
</span>
<span lang="es" style="font-size: 24.0pt; font-family: Times New Roman">
(VI) </span></p>
<p class="MsoTitle2" style="text-align: center">
<span lang="es" style="font-size: 8.0pt; font-family: Verdana; font-weight: bold">
AN INTERACTIVE MONTHLY PAPER
FOR RAINY DAYS </span></p>
<p class="MsoTitle2" style="text-align: center">
<span lang="es" style="font-size: 8.0pt; font-family: Verdana; font-weight: bold">
TO BE READ, SCRIBBLED ON, ENJOYED AND THROWN AWAY</span></p>
<p class="MsoNormal" style="mso-pagination:none;text-align:center;text-align:
center">
</p>
<p class="MsoNormal" style="mso-pagination:none;text-align:center;text-align:
center">
<span lang="es" style="font-family:Verdana;mso-default-font-family:
Verdana;mso-ascii-font-family:Verdana;mso-latin-font-family:Verdana;
mso-greek-font-family:Verdana;mso-cyrillic-font-family:Verdana;mso-armenian-font-family:
Verdana;mso-hebrew-font-family:Verdana;mso-thai-font-family:Verdana;
mso-currency-font-family:Verdana;mso-latinext-font-family:Verdana;font-weight:
bold;language:es;mso-ansi-language:es">Carlos A. Trevisi,<span style="mso-spacerun:yes">
</span>Editor-in-Chie</span><span lang="es" style="font-family:Verdana;mso-default-font-family:Verdana;
mso-ascii-font-family:Verdana;mso-latin-font-family:Verdana;mso-greek-font-family:
Verdana;mso-cyrillic-font-family:Verdana;mso-armenian-font-family:Verdana;
mso-hebrew-font-family:Verdana;mso-thai-font-family:Verdana;mso-currency-font-family:
Verdana;mso-latinext-font-family:Verdana;language:es;mso-ansi-language:es">f<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-pagination:none;text-align:center;text-align:
center">
<span lang="en-GB" style="font-family:Verdana;mso-default-font-family:
Verdana;mso-ascii-font-family:Verdana;mso-latin-font-family:Verdana;
mso-greek-font-family:Verdana;mso-cyrillic-font-family:Verdana;mso-armenian-font-family:
Verdana;mso-hebrew-font-family:Verdana;mso-arabic-font-family:Arial;
mso-thai-font-family:Verdana;mso-currency-font-family:Verdana;mso-latinext-font-family:
Verdana;color:black;language:en-GB;mso-ansi-language:en-GB">
<a href="http://www.fundacionemiliamariatrevisi.com">
www.fundacionemiliamariatrevisi.com</a></span></p>
<p class="MsoNormal" style="mso-pagination:none;text-align:center;text-align:
center">
</p>
<p class="MsoNormal" style="mso-pagination:none;text-align:center;text-align:
center">
<span lang="es" style="font-size:8.8pt;font-family:Verdana;mso-default-font-family:
Verdana;mso-ascii-font-family:Verdana;mso-latin-font-family:Verdana;
mso-greek-font-family:Verdana;mso-cyrillic-font-family:Verdana;mso-armenian-font-family:
Verdana;mso-hebrew-font-family:Verdana;mso-thai-font-family:Verdana;
mso-currency-font-family:Verdana;mso-latinext-font-family:Verdana;color:#CC3300;
font-weight:bold;language:es;mso-ansi-language:es">JULY<span style="mso-spacerun:yes"> /
AUGUST 2012 </span></span></p>
<p class="MsoNormal" style="mso-pagination:none;text-align:center;text-align:
center">
</p>
<span class="Apple-style-span" style="text-align: -webkit-center">
</span>
<p class="MsoNormal">
</p>
<p class="MsoNormal">
<span lang="es" style="font-family: Verdana; color: #008000; font-weight: bold">
<font size="2">NEWSPAPERS </font></span></p>
<h3 class="r" style="font-weight: normal; display: block; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; color: rgb(34, 34, 34); font-family: Verdana; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; margin: 0px; padding: 0px; background-color: rgb(255, 255, 255)" align="left">
<em style="font-style: normal">
<a class="l" onmousedown="return rwt(this,'','','','1','AFQjCNETSDsQaKbctlDIXhQmMKDbJ-6GyQ','YHUWDzURYKKarHq_FhTI2Q','0CGwQFjAA',null,event)" wrc_done="true" style="color: rgb(17, 34, 204); cursor: pointer; text-decoration: none" href="http://www.washingtonpost.com/">
<font size="2">The Washington Post</font></a></em></h3>
<h3 class="r" style="font-weight: normal; display: block; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; color: rgb(34, 34, 34); font-family: Verdana; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; margin: 0px; padding: 0px; background-color: rgb(255, 255, 255)" align="left">
<a class="l" onmousedown="return rwt(this,'','','','1','AFQjCNETSDsQaKbctlDIXhQmMKDbJ-6GyQ','YHUWDzURYKKarHq_FhTI2Q','0CGwQFjAA',null,event)" wrc_done="true" style="color: rgb(17, 34, 204); cursor: pointer; text-decoration: none" href="http://www.washingtonpost.com/">
<font size="2">Breaking News, World, US, DC News & Analysis</font></a><font size="2"> </font></h3>
<h3 class="r" style="font-size: medium; font-weight: normal; display: block; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; color: rgb(34, 34, 34); font-family: Verdana; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; margin: 0px; padding: 0px; background-color: rgb(255, 255, 255)" align="left">
</h3>
<h3 class="r" style="font-size: medium; font-weight: normal; display: block; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; color: rgb(34, 34, 34); font-family: Verdana; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; margin: 0px; padding: 0px; background-color: rgb(255, 255, 255)" align="left">
<a class="l" onmousedown="return rwt(this,'','','','1','AFQjCNFpKpybX9VYVnilBGvw5fHTK6BRIw','gF3V1n3o7lBnC71SIjE5WA','0CGsQFjAA',null,event)" wrc_done="true" style="color: rgb(17, 34, 204); cursor: pointer; text-decoration:none" href="http://www.cnn.com/">
<em style="font-style: normal; "><font size="2">CNN</font></em><font size="2">.com </font>
</a></h3>
<h3 class="r" style="font-weight: normal; display: block; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; color: rgb(34, 34, 34); font-family: Verdana; font-style: normal; font-variant: normal; letter-spacing: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; margin: 0px; padding: 0px; background-color: rgb(255, 255, 255)" align="left">
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<font size="2"> Breaking News, U.S., World, Weather, Entertainment</font></a></h3>
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<a href="http://www.buenosairesherald.com/" style="text-decoration: none">
<span lang="es" style="font-family: Verdana; ">
<font size="2">Buenos Aires Herald</font></span></a><span lang="es" style="font-family: Verdana; font-weight: bold"><font size="2">
</font>
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<span lang="es" style="font-family: Verdana; font-weight: bold">
(Argentina)</span></font></p>
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<a href="http://www.dailytelegraph.com.au/" style="text-decoration: none">
<span lang="es" style="font-family: Verdana; color: blue">
<font size="2">The Daily Telegraph</font></span></a><font face="Verdana" size="2"><span lang="es" style="color: black">
</span></font>
<span lang="es" style="font-family: Verdana; color: black; font-weight: bold">
<font size="2">(Australia)</font></span></p>
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<font face="Verdana" size="2"><span lang="es"> </span></font><span lang="es" style="font-family: Verdana; font-weight: bold"><font size="2">MORE NEWSPAPERS:
</font>
</span>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/fundacion.htm">
<span lang="es" style="font-family: Verdana; text-decoration: underline">
<font size="2">
http://www.fundacionemiliamariatrevisi.com/ingles/fundacion.htm</font></span></a><font face="Verdana"><span lang="es"><font size="2">
</font></span></font></p>
<p class="MsoNormal">
<span lang="es"> </span></p>
<p class="MsoNormal">
<b><font color="#008000" size="2">
<span lang="es" style="font-family: Verdana">The
Aesthetics of Decay</span></font><span lang="es" style="font-family: Verdana; color: #008000"><font size="2"> </font></span></b></p>
<p class="MsoNormal">
<span lang="es" style="font-family: Verdana">(New
York: Peter Lang, 2006) </span></p>
<p class="MsoNormal">
<span lang="es" style="font-family: Verdana">(</span><a href="http://www.dylantrigg.com/book.htm"><span lang="es" style="font-family: Verdana; text-decoration: underline">http://www.dylantrigg.com/book.htm</span></a><span lang="es" style="font-family: Verdana">)
</span></p>
<p class="MsoNormal">
<span lang="es"> </span></p>
<p class="MsoNormal" style="text-align: justify">
<span lang="es"> </span><span lang="es" style="font-family: Verdana"><font size="2">Dylan Trigg
confronts the </font></span><font size="2">
<span lang="es" style="font-family: Verdana; font-weight: bold">remnants
</span><span lang="es" style="font-family: Verdana">from the </span>
<span lang="es" style="font-family: Verdana; font-weight: bold">fallout
</span><span lang="es" style="font-family: Verdana">of post-industrialism
and postmodernism. Through a considered analysis of memory, place, and
nostalgia, Trigg argues that the decline of reason enables a critique of
progress to emerge. In this ambitious work, Trigg aims to reassess the
direction of progress by situating it in a spatial context. In doing so,
he applies his critique of rationality to modern ruins. The </span>
<span lang="es" style="font-family: Verdana; font-weight: bold">derelict
</span><span lang="es" style="font-family: Verdana">factory, abandoned
asylum, and urban </span>
<span lang="es" style="font-family: Verdana; font-weight: bold">alleyway</span></font><span lang="es" style="font-family: Verdana"><font size="2">
all become allies in Trigg's attack on a fixed image of temporality and
progress. The Aesthetics of Decay offers a model of post-rational
aesthetics in which spatial order is challenged by an affirmative ethics of ruin. </font></span></p>
<p class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%">
</p>
<p class="MsoNormal" style="text-align: justify; text-justify: newspaper; text-kashida-space: 50%">
<span lang="es" style="font-family: Verdana; color: #333333; font-weight: bold">
<font size="2">Vocabulary </font></span></p>
<p class="MsoNormal">
<span lang="es" style="font-family: Verdana">
<font size="2">remnants: vestigio del pasado / fallout: caída/ derelict:
en ruinas / alleyway: travesía, callejón/ </font></span>
<font size="2">
<span lang="es" style="font-family: Verdana; font-weight: bold">
DICTIONARY</span></font><span lang="es" style="font-family: Verdana"><font size="2">:
</font></span><a href="http://www.wordreference.com/">
<span lang="es" style="font-family: Verdana; text-decoration: underline">
<font size="2">http://www.wordreference.com</font></span></a></p>
<![endif]-->Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-50843369338865312042012-08-25T05:34:00.000-07:002012-10-13T11:14:24.366-07:00DO ELITE UNIVERSITY Ph.s. LAND JOBS?<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: Verdana, sans-serif; font-size: x-small;">SAY IT NOW british institute</span></b></td></tr>
</tbody></table>
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<b><a href="http://www.linkedin.com/e/-4obuua-h67c6s2x-6n/nab/5643947318735560773/djsMc3gRe3AUcPwSdzcOd3gSdiMPdPsMdzkRcPsUcjcTd3APd3oRb3oQcPcNdPsScj4NejoMc3gQdzkIdjoPd3AUejcRejsPej8PcPgSdiMOcPoNdjwOdzoUc38Rcj0Qd3oR/true/weekly/eml-tod2-b-ttl-3/?hs=false&tok=31Dl9gYW5teBo1"><span style="font-family: Verdana;"><span style="font-size: x-small;">Essay on the
assumption that only elite university Ph.D.s land jobs</span></span></a></b></div>
<div style="margin: 0in;">
<a href="http://www.insidehighered.com/advice/2012/08/22/essay-assumption-only-elite-university-phds-land-jobs">
http://www.insidehighered.com/advice/2012/08/22/essay-assumption-only-elite-university-phds-land-jobs</a></div>
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The Myth of Ivy Advantage</div>
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August 22, 2012 - 3:00am, <span style="color: #444444; font-size: 9px; line-height: 9px;">By </span><a class="username" href="http://www.insidehighered.com/user/1075" style="color: #e47116; font-size: 16px; text-decoration: none;" title="View user profile.">Karen Kelsky</a></div>
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Some months back I wrote a column in <em>The Chronicle of Higher Education</em> called "Graduate School is a Means to a Job." The column began with issues a prospective graduate student should consider before entering graduate school at all. I wrote:</div>
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"Go to the highest-ranked graduate department you can get into — so long as it funds you fully….. [But] never assume that the elite, Ivy League departments are the highest-ranked or have the best placement rates. Some of the worst-prepared job candidates with whom I've worked have been from humanities departments at Yale, Harvard, and Princeton. Do not be dazzled by abstract institutional reputations. Ask steely-eyed questions about individual advisers and their actual (not illusory) placement rates in recent years."</div>
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The column received a lot of generally positive commentary. But my remarks about the Ivy League elicited one comment in particular:</div>
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"I think this is a very good article, but I think the dismissive approach to the Ivy schools is unfair. I am an administrator of a humanities Ph.D. program at one of those schools and 90 percent of our grads get TT jobs. I do a lot of counseling about how to go about making sure they are ready to go on the market from the time they enter the program. Their faculty members are incredible mentors not only during their time in the program but well beyond commencement."</div>
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Ninety percent of grads get tenure-track jobs? That’s an impressive figure. Is it true? Well, who knows. The commenter declined to provide us with any additional information, even when pressed by fellow commenters, who inquired as to the location of his department, in order to direct students to it. He merely replied huffily, "I am not comfortable publicly announcing where I work, but Google is a great tool."</div>
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I bring up this exchange to raise the enduring myth that Ivy League job candidates have an inherent and indisputable advantage on the tenure track job market. They do not. This is a myth.</div>
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Let me be clear — I am not making a statistical, quantitative argument, and I am not offering percentages (like the dubious 90 percent above). I am making an argument based on my experiences as a job seeker in my generation of job seekers, my time on many search committees, my observations as a practicing academic in my fields of anthropology and East Asian studies, and lastly, my recent work as an academic career coach in my business, The Professor Is In, in which capacity I’ve worked with approximately 800 job seekers in the past year.</div>
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Based on observations gleaned from these experiences, Ivy League job seekers (and of course this category could be stretched to include another four or five top private universities) do not have an inherent and indisputable advantage on the tenure-track job market. Many of them have a great deal of trouble finding tenure-track jobs, and a significant proportion of them fail, just as do Ph.D.s from other schools. </div>
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I do believe there are some advantages enjoyed by Ivy Leagues candidates, and I’ll mention those, but they are far fewer than people both inside and outside the Ivies seem to believe (and as I shall show, not without their own attendant pitfalls). Yet the myth prevails. </div>
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This myth is particularly important to me to address, because it is debilitating to both those tenure-track job seekers who have (or are getting) Ivy League Ph.D.s, and those who do (are) not. In the first case, because in the desperate conditions of the current job market complacency is deadly. And in the second because misplaced jealousy and an unwarranted sense of inadequacy are debilitating in candidates who are in fact entirely competitive on the market.</div>
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I wrote in the column that "Some of the worst-prepared job candidates with whom I've worked have been from humanities departments at Yale, Harvard, and Princeton," and this was not idle rhetoric, or grandstanding. When I served on search committees some of the most unprofessional application packages we received were from Ivy League candidates. Now as an academic career coach I observe that Ivy League clients often present some of the most ill-conceived first drafts of their job documents.</div>
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The question, of course, is why.</div>
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I believe it’s the complacency factor. Not necessarily in the job seekers themselves, who tell me that many of their peers have failed to find work, and who are anxious indeed. It’s the complacency of their advisers and departments, who, according to my clients, offer little or no professionalization training, because it is not viewed as necessary.</div>
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And indeed, in earlier times, it probably wasn’t.</div>
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But these days, institutional name, and indeed, individual superstar faculty name, are no longer sufficient to get a candidate through to the end of a brutal selection process. Especially at the lower-tier schools where, increasingly, all Ph.D.s are competing for jobs, the elite pedigree can sometimes be greeted with skepticism.</div>
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This is not to say institutional status plays no role. As one client told me, "the faculty do absolutely nothing to prepare us for the market. But if one of us does get shortlisted, they mobilize the X University network, and they seriously work the phones." Remember the Old Boys' Network? That would be this, minus the gender. It should never be underestimated.</div>
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But getting shortlisted in the first place? That comes from the length and depth of a candidate’s C.V., and the brilliance of her job materials. Institutional name or reputation alone is not enough, not now, not at this point in time.</div>
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The brutality of the job market has had an interesting, inadvertent meritocratizing effect. Because neoliberal logic has ravaged the notion of the ivory tower, and reduced the university system of value to the same quantifiable standards of productivity that prevail in other industries, any candidate who presents a C.V. filled with quantities of published work will compete handily with one who brings primarily name status. </div>
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The quality of training at Ivy League universities with regard to these frantic (and unapologetically bourgeois) standards of accomplishment is the question. To the extent that "striving" is considered alien to the ethos of the graduate program, job market preparation will inevitably be lacking.</div>
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In my work with Ivy League job seekers, I have been struck by the abundance of their financial support. What they do not do, during their years of graduate school, is scramble.</div>
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Scramble in that unseemly and desperate manner that consumes their peers in less plentifully endowed programs. That rich funding is an advantage in many ways — money above all buys time to think and research and write, and do it well. But it also puts these job seekers out of step with the zeitgeist of the moment, and of the market. This zeitgeist revolves around scarcity. The successful job seeker will be adept at knowing how to talk about making something from nothing when called upon to do so. </div>
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Any job seeker who doesn’t understand the scarcity model of the academy at the present moment is a job seeker out of step with the prevailing (although generally unacknowledged) ethos of search committees and administrators. Great thoughts, if they are not published in high-ranking peer reviewed journals, and accompanied by a record of successful grant funding, do not make the cut. </div>
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Networks, name allure, and abundant funding are not small things. But they are also not inherent or indisputable advantages for a tenure track placement, and they do not replace a consistent record of evidence of productivity and achievement. There is no free pass on the market in this day and age. As much as we might deplore the defunding of higher education, it has made some of the terms of competition more stark, and less mysterious (and mystified).</div>
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<span style="font-family: Arial, Helvetica, 'Nimbus Sans L', sans-serif; font-size: 16px;"><br /><br />Read more: <a href="http://www.insidehighered.com/advice/2012/08/22/essay-assumption-only-elite-university-phds-land-jobs#ixzz24Yo88h7X" style="color: #003399; text-decoration: none;">http://www.insidehighered.com/advice/2012/08/22/essay-assumption-only-elite-university-phds-land-jobs#ixzz24Yo88h7X</a><br />Inside Higher Ed </span>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-41443106994408995012012-08-18T04:56:00.001-07:002012-10-13T11:14:54.389-07:00IS THIS THE CHURCH CATHOLICS WANT?<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJF96Njx3hBUIThuncvOJY_iXUT4pHvWILT7GQdM53dhJerO9cLpztPhGLbkt3gOLLzQbMcnlWGwRdtDuqx4pWgbWT2J49fI21DhGncQVuRbhTKCGkcoPiIx6CXXOzrL47-MW6G79Zj0gn/s1600/SAY+IT+NOW.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJF96Njx3hBUIThuncvOJY_iXUT4pHvWILT7GQdM53dhJerO9cLpztPhGLbkt3gOLLzQbMcnlWGwRdtDuqx4pWgbWT2J49fI21DhGncQVuRbhTKCGkcoPiIx6CXXOzrL47-MW6G79Zj0gn/s1600/SAY+IT+NOW.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;"><b>SAY IT NOW british institute</b></span></td></tr>
</tbody></table>
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Is there any good reason for the Church to return <span style="font-size: 16px;">to those baptized into Christ?</span></div>
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<span style="font-size: 11pt;">LCWR Leadership Award Schneiders</span></div>
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<span style="font-family: Verdana; font-size: 11.0pt;">LCWR
has nearly 1500 members who are elected leaders of their religious orders,
representing approximately 57,000 Catholic sisters. The conference develops
leadership, promotes collaboration within church and society, and serves as a
voice for systemic change.</span><span style="font-family: Verdana; font-size: 11.0pt; font-weight: bold;"> </span><span style="color: #666666; font-family: Tahoma; font-size: 8.0pt;">Pegado de <</span><a href="http://www.enewspf.com/latest-news/human-interest/35518-catholic-sisters-assembly-decides-next-steps-in-response-to-vatican-assessment.html"><span style="color: #666666; font-family: Tahoma; font-size: 8.0pt;">http://www.enewspf.com/latest-news/human-interest/35518-catholic-sisters-assembly-decides-next-steps-in-response-to-vatican-assessment.html</span></a><span style="color: #666666; font-family: Tahoma; font-size: 8.0pt;">> </span></div>
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<a href="http://www.enewspf.com/latest-news/human-interest/35518-catholic-sisters-assembly-decides-next-steps-in-response-to-vatican-assessment.html"><span style="font-weight: bold;">Catholic Sisters' Assembly Decides Next Steps In
Response To Vatican Assessment</span></a></div>
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August
10, 2012</div>
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St.
Louis, Missouri</div>
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ACCEPTANCE
ADDRESS</div>
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I can
find no words to adequately express my appreciation to the Leadership
Conference of Women Religious for their choice to associate me in this special
way with their extraordinary ministry of leadership not only to women
Religious, but to the whole Church, and to the world to which the Church is
missioned. Wonderful as this occasion is, however, it would be disingenuous to
pretend that this year’s meeting of LCWR is simply an “annual event.” As its
president, Sister Pat Farrell, said in opening the meeting, “this is a meeting
like no other.” It was only a couple weeks after I received the call from Janet
Mock telling me of this award that the Vatican Congregation for the Doctrine of
the Faith launched a staggering assault on LCWR that stunned its leaders and
members and shocked many in the larger Church and beyond. </div>
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I do not
want to minimize the seriousness and even danger of the distressing situation
with which our leaders have been dealing over these past days, much less
whitewash the genuine scandal it has caused. But in the context of this
evening’s gathering which, despite everything, is meant to celebrate the
remarkable history, the current life and vigor, and the free and hopeful future
of this wonderful organization, I want to focus on something that I think is
both more</div>
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important
for our present and our future, and infinitely more worthy of our attention.
Without negating the very real sociological, psychological, and political
issues involved, to which our attention has been called over these past months
by the analyses of various professionals, I would like to focus, in this golden
jubilee year of Vatican II, on the theological issue at the heart of this
struggle and of others that are stressing our Church at this time: that of
ecclesial leadership in the context of the theology of Vatican II.</div>
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<br /></div>
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The
leitmotif of the Council was the nature and mission of the Church. The Council
recognized that if the Church was to be for the modern world what it is called
to be, the Body of Christ at the service of the world that God so loved as to
give God’s only Son for its salvation, the Church’s self-understanding,
structures, procedures, and relationships required thoroughgoing aggiornamento,
both reform and renewal. The most important documents that emerged from the
Council concerned divine revelation [Dei Verbum] which is the ground of the
Church and its life and whose mediation into the world is the Church’s primary
vocation and responsibility; the nature of the Church [Lumen Gentium] expressed
and celebrated in the liturgy [Sacrosanctum Concilium] and lived in its mission
to the modern world [Gaudium et Spes]; freedom of conscience [Dignitatis
Humanae] which enables people to personally engage revelation, to participate
in the Church’s internal life, and to take responsibility for its mission as
adult human beings called to share in God’s life; and the promoting of the
Church’s relationship in mutuality with all people including non-Catholic
Christians, people of other spiritual TRADITIONS[Unitatis Redintegratio, Nostra
Aetate] , and even non-believers. I want to concentrate for a moment, then, on
the theology of the Church, its identity and mission, in order to raise the
issue of what kind of leadership the Church needs in this time of crisis. </div>
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<br /></div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
The
Council took us back to the roots of ecclesiology in the Old Testament, to the
theology of the Church as the Pilgrim -- that is, the not-yet-arrived -- People
of God, created in God’s own image as male and female who are (CO) equal
partners with each other participating in God’s own responsibility for creation
itself, including the human family, on it historical way through this world to
the New Jerusalem. In the New Testament that Chosen People was called deeper
into the mystery of God, called to become not only a “light to the nations”
(see, Is.42:1-9; Lk. 2:29-32; Mt. 12:15-21; Acts 26:18-23) but the very Body of
Christ, the presence of the Risen Jesus, acting in the world for its salvation
(see, Eph. 4 and Rom. 12:3-8). God, in the person of Jesus, acted out for us
what that salvific work should look like. In Jesus we contemplate the
paradoxical relationship of God, the all powerful Creator, to power. Jesus did
not come to exercise coercive power over recalcitrant sinners, to forcibly mold
them according to some abstract divine plan of moral perfection. Jesus did not
even found a family of which he would have been, in his culture, the
patriarchal head and absolute authority. He neither sought nor accepted any
office or position of authority or power in his religious community of Israel.
He was called to be a prophet (see Lk. 4:16-21), to exercise a spiritual
ministry that was not guaranteed by any official appointment, conferred no
office, and gave him no institutional leverage. As a prophet he exerted only
the influence of truth and love, the authority of his own integrity in
witnessing to the God who sent him. Jesus never resorted to violence,
thought-control or loyalty oaths, intimidation through shaming or threats of
rejection, expulsion from the covenant community, execution, or eternal
damnation. Rather, Jesus taught by world-subverting parables, challenging
questions, insistent dialogue, by patient persuasion, repeated invitation,
probing argument, and especially by his original and arresting interpretations
of Scripture which were sometimes startling in their radicality because Jesus
favored people and their needs over the requirements of even the most sacred
laws (see, e.g., Mt. 12:1-8). He questioned and challenged both the ordinary
people he dealt with and the authorities of his religious tradition. He, though
divine by nature, refused to be made complicit in anyone’s program of playing
God (THOUGH HE WAS GOD HIMSELF)in relation to others (see Jn. 8:1-11). But he
also allowed himself to be challenged, for example, in regard to his sense of
the exclusivity of Israel’s vocation (see, Mk. 7:24-28). But finally, when he
was rejected by the leaders of his religious community and sentenced to death
by the powers of the Roman Empire, he accepted death rather than change or
suppress the message he had come to offer: the radical, almost unbelievable,
message of God’s absolute and unconditional love for every human being, a love
that would not be withheld from or defeated by even the most serious sinner.
God raised the executed Jesus from the dead and restored him to his followers,
whom he then empowered to continue to be his saving presence in the world,
warning them that they would face the same fate he had if they remained faithful
to his “scandalous” message of God’s all-inclusive, law-relativizing love. This
is the nature and mission of the community called Church, the Body of Christ in
this world.</div>
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<br /></div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
The
spirituality of Christian leadership is determined by the kind of community the
Church is and the kind of mission with which it is charged. The Church that
Jesus formed around himself is not an imitation of any secular model of
community and therefore its leadership cannot and must not mimic (or copy) the
exercise of authority of secular power structures. The Church is not a divine
right monarchy in which some individual person is vested by God with absolute
divine power over all the members. Nor is it a one-person-one-vote democracy in
which truth or even policy is decided by a majority, leaving the minority to
fend for itself. It is not an oligarchy or rule by the powerful few whether
they be titled nobles, or military officers, or corporation moguls, or vested
clergy. It is not a plutocracy or rule of the very wealthy, nor a totalitarian
dictatorship in which truth is decided and right is established by the brute
force of the most powerful. It is not even that probably best form of secular
government we humans have devised so far, the republic in which power is vested
in, and exercised representatively by, the governed. (ALL AUTHORITY COMES
DIRECTLY FROM GOD) </div>
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<br /></div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
The
Church is a unique kind of community, the union of those baptized into Christ,
formed by his Word which is not bound (see 2 Tim. 2:8-9) -- never fully grasped
nor controlled by anyone -- gathered around the table where we share Christ’s
Body in order to become his Body for the world. It is a community in which
there is no slave or master, no national or ethnic superiorities, no gender
domination, no inequality that is theologically or spiritually significant
except holiness, and in which even distinctions of role and function are not
titles to power but differences which must serve the unity of the whole. It is
a community in which all vie for the lowest place, wash one another’s feet,
lift rather than impose burdens, and dwell among their sisters and brothers as
those who serve. </div>
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<br /></div>
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What
kind of leadership is possible and appropriate in such a community, in the
Pilgrim People of God called to be the Body of Christ in this world? What is
the spirituality of leadership that Jesus modeled and taught among the somewhat
ragtag group of very ordinary women and men whom he formed into the first
Christian community? What does such leadership look like on the ground, in our
day and age, in our post-modern culture? Let me make three suggestions about
what, minimally, Gospel leadership would look like. First, the leaders would
emerge from the community rather than imposing themselves or being imposed upon
it. They would be chosen because they share, incarnate, model, and articulate
the faith and hope and commitments of the group. Several times since the
mandate of the CDF was imposed on the LCWR the bishops in charge have insisted
that they have no problem with the Sisters whom they love and admire. It is
only their leaders who are problematic. But, unlike clerical leaders who are
regularly imposed, without consultation, on communities to whom they have no
relationship, because of the loyalty of the appointee to the higher authority
rather than to the community to whom he is sent, the leaders of Religious
Congregations are freely elected by the members precisely because they do
represent the best hopes and commitments of the community. Leaders of Religious
communities are chosen from the community, for the community, (by the
community) and when they complete their term of service they will not move up
to a higher post in a power structure but will resume their place in the
community, </div>
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<br /></div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
Leaders
in Religious communities are and remain fundamentally equals of their sisters
or brothers. They are not called or empowered or sent to dominate or lord it
over the community, to take the first place in the assembly or dress in finery
or give themselves honorific titles or demand obsequious marks of respect, but
to be the servants of all, even to the laying down of their lives in various
ways for those they serve. Secondly, the leader of a Gospel community, a
community with a mission to the whole world which God so loved, would, like
Jesus who prepared his disciples for what lay ahead, exercise what Pat Farrell
in her recent National Public Radio interview called “anticipatory leadership.”
Anticipatory leadership is not just crisis management, or shop-tending, or
status quo preservation, and certainly not a channeling of abstract absolutes
from without. It is an active fostering of discernment about what is coming
toward us from the future and how we can be prepared (and trained), like good
stewards drawing on treasures both old and new (see Mt. 13:52), to meet those
new challenges with the riches of the Gospel tradition but also with the best
contemporary resources and communal reflection. Third, the leaders of a
genuinely Christian community must be capable of leading that community not
only to do what is needed in this world but also to be what is needed by this
world, not only to act efficaciously but to live with integrity. It is not
enough that leaders themselves not abuse or dominate the members of the
community but, like the Good Shepherd who does not abandon the flock when it is
in danger (see Jn. 10:11-13), they must resist and energize the community to
resist whatever threatens its integrity (and fidelity), whether such threats come
from within or without, whether they are spiritual or societal or
ecclesiastical. To incarnate, promote, and above all witness to the freedom of
the Gospel in the face of interlocking domination systems, both secular and
religious, is a primary task of the Christian community, the Body of Christ in
this world, and we have been made very aware in the past six months of just how
urgently the Church, and even people outside the Church’s formal boundaries,
are looking to Religious communities for leadership, for a witness to
integrity, for a living model of what it means to be Church in these difficult
times. </div>
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<br /></div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
Given
the project that is Religious Life it is not at all surprising that this
lifeform has genereated, and is still developing, a form of Gospel leadership
which is increasingly emerging into public view as a genuine alternative to
ecclesiastical or secular leadership defined as dominative power. This, for me,
and I think for people all over this country and beyond, is what LCWR kin. This
kind of servant leadership in this kind of Gospel community is as baffling to
those in power today as was Jesus’ mode of leadership to the Temple hierarchy
and the Roman Empire of his time. Those in power only wanted to know, under
penalty of death, whether in fact, Jesus was a king, a dangerous challenger
subverting their domination systems. But Jesus replied, “You are the ones who
are talking about power. For this have I come into the world, to bear witness
to the truth. Those who are of the truth hear my voice” (cf. Jn. 18:37). It is
that witness which I have so long admired not only in the leadership of my own
Religious congregation, the Sisters, Servants of the Immaculate Heart of Mary,
which is, in an important sense, the real recipient of tonight’s award, but
also in the courageous and visionary leadership of those gathered in this room
and their predecessors. Thank you for this honor, but most of all, thank you
for your service and witness to all of us, your Sisters, and to the Church and
world we serve. </div>
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<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
Sandra
M. Schneiders, IHM</div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
Jesuit
School of Theology of Santa Clara University</div>
<div style="font-family: Verdana; font-size: 12pt; margin: 0in;">
Berkeley,
California</div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-39484147255185450742012-08-18T04:08:00.002-07:002012-10-13T11:15:06.413-07:00SUMMER OLYMPICS and THE CREATION OF EVE <a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><span style="font-family: Verdana, sans-serif;"><b><br /></b></span>
<span style="font-family: Verdana, sans-serif;"><b><br /></b></span>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;"><b>SAY IT NOW british institute</b></span></td></tr>
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<br />
<span style="font-family: Verdana, sans-serif;"><b>Summer Olympics and The Creation of Eve</b></span><br />
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">Sent by Liliana Piastra</span></div>
<div style="font-weight: bold; margin: 0in;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="font-weight: bold; margin: 0in;">
<span style="font-family: Verdana, sans-serif;">Here are the top nine comments made by NBC sports
commentators during the Summer Olympics that they would like to take back:</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">1.
Weightlifting commentator: "This is Gregoriava from Bulgaria. I saw her
snatch this morning during her warm up and it was amazing." </span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">2.
Dressage commentator: "This is really a lovely horse and I speak from
personal experience since I once mounted her mother."</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">3.
Paul Hamm, Gymnast: "I owe a lot to my parents, especially my mother and
father."</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">4.
Boxing Analyst: "Sure there have been injuries, and even some deaths in
boxing, but none of them really that serious."</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">5.
Softball announcer: "If history repeats itself, I should think we can
expect the same thing again."</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">6.
Basketball analyst: "He dribbles a lot and the opposition doesn't like it.
In fact you can see it all over their faces."</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">7.
At the rowing medal ceremony: "Ah, isn't that nice, the wife of the IOC
president is hugging the cox of the British crew." (Hug: apretujón)</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">8.
Soccer commentator: "Julian Dicks is everywhere. It's like they've got
eleven Dicks on the field."</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">9.
Tennis commentator: "One of the reasons Andy is playing so well is that,
before the final round, his wife takes out his balls and kisses them... Oh my
God, what have I just said?"</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="font-weight: bold; margin: 0in;">
<span style="font-family: Verdana, sans-serif;">Top Ten Reasons Eve Was Created</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">10.
God was worried that Adam would frequently become lost in the garden because he
would not ask for directions.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">9.
God knew that one day Adam would require someone to locate and hand him the
remote.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">8.
God knew Adam would never go out and buy himself a new fig leaf when his wore
out and would therefore need Eve to buy one for him.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">7.
God knew Adam would never be able to make a doctor's, dentist, or haircut
appointment for himself.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">6.
God knew Adam would never remember which night to put the garbage on the
curb.(CURB=KERB)</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">5.
God knew if the world was to be populated, men would never be able to handle
the pain and discomfort of childbearing.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">4.
As the Keeper of the Garden, Adam would never remember where he left his tools.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">3.
Apparently, Adam needed someone to blame his troubles on when God caught him
hiding in the garden.</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">2.
As the Bible says, It is not good for man to be alone!</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">And
the number one reason why God created Eve...</span></div>
<div style="margin: 0in;">
<br /></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">1.
When God finished the creation of Adam, He stepped back, scratched his head,
and said,</span></div>
<div style="margin: 0in;">
<span style="font-family: Verdana, sans-serif;">"I
can do better than that!"</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-2297600186596895182012-07-30T10:10:00.001-07:002012-10-13T11:15:19.453-07:00¿TE ANIMAS A INTERPRETAR DICHOS Y CHISTES?<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<span lang="en-gb" style="font-family: Verdana; font-weight: 700;"><span style="font-size: x-small;"><br /></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;"><b>SAY IT NOW british institute</b></span></td></tr>
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<span lang="en-gb" style="font-family: Verdana; font-weight: 700;"><b><span style="color: blue;">G</span>RAMÁTICA <span style="color: blue;">I</span>NGLESA <span style="color: blue;">I</span>NTERACTIVA</b> (CD)</span></div>
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<span lang="en-gb" style="font-family: Verdana; font-weight: 700;"><span style="font-family: Verdana, sans-serif;">Más de 600 oraciones que abordan </span></span></div>
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<span lang="en-gb" style="font-family: Verdana; font-weight: 700;"><span style="font-family: Verdana, sans-serif;">toda la gramática inglesa con diccionario, tiempos verbales, verbos especiales, ejercitación y demás</span></span></div>
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<span lang="en-gb" style="font-family: Verdana; font-weight: 700;">Interpretemos</span></div>
<br />
<span lang="en-gb"><b><span style="font-family: Verdana;">Lo que se espera de ti es que ENTIENDAS el contenido de los dichos y de los chistes.</span></b></span><br />
<br />
<span style="font-family: Verdana;">1.</span><br />
<span style="font-family: Verdana;">Opportunity makes the thief.<br /><br />2.</span><br />
<span style="font-family: Verdana;">The things most people want to know are usually none of their business.<br /><br />3.<br />- I say, porter! How long will the next train be?<br />- About six carriages, sir.<br />- Smart, aren’t you?<br />- No sir. I’m Jenkins. Smart’s on strike.<br /><br />4.</span><br />
<span style="font-family: Verdana;">It’s the overtakers who keep the undertakers busy.<br /><br />5.</span><br />
<span style="font-family: Verdana;">The only people who haven’t appeared on television are those who are too busy watching it.<br /><br />6.</span><br />
<span style="font-family: Verdana;">You really have insomnia if you can’t sleep when it’s time to get up.<br /><br />7.<br />I’ve sometimes thought of marrying<br />And then I’ve thought again.<br /><br />8.</span><br />
<span style="font-family: Verdana;">To travel hopefully is a better thing than to arrive.<br /><br />9.</span><br />
<span style="font-family: Verdana;">Seven people in every eight are insured against an accident. The eighth person has the accident.<br /><br />10.<br />Rush hour?-<br />When the traffic stands still.<br /><br />11.<br />What will history say?<br />History will tell lies, as usual.<br /><br />12.<br />Don’t kill your wife with housework.<br />Let electricity do it.<br /><br />13. Fantastic!!!</span><br />
<span style="font-family: Verdana;"><br />- I’ve been practising ten hours a day. I can play everything Brahms or Beethoven wrote plus an abundance of Bach and Bartok<br />- Last night on television I saw a man play the piano with his nose...<br />- What’s the use.<br /> </span><br />
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-68987906344323949422012-07-29T04:20:00.005-07:002012-10-13T11:15:55.096-07:00ABORTION<div class="separator" style="clear: both; text-align: left;">
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span></div>
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<b style="background-color: white;"><span lang="EN-US" style="font-family: Verdana, sans-serif;">A Question of Catholic Honesty</span></b></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">by Daniel C. Maguire</span><span style="font-size: medium;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;">Dr. Maguire is professor of
moral theology at Marquette University in Milwaukee, Wisconsin, and past
president of the Society of Christian Ethics. He wasthe visiting professor of
moral theology at the University of Notre Dame in South Bend, Indiana, during
the 1983-84 school year. This article appeared in the</span><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;"> </span><i><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;">Christian Century</span></i><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;">, September 14-21, 1983-84 p.
803-807. Copyright by The Christian Century Foundation; used by permission.
Current articles and subscription information can be found at</span><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;"> </span><span style="font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.christiancentury.org/"><span lang="EN-US" style="color: blue;">www.christiancentury.org</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt;">. This material was prepared for Religion Online by Ted and Winnie Brock.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">"In<b> </b>the
‘already but not yet’ of Christian existence, members of the church choose
different paths to move toward the realization of the kingdom in history.
Distinct moral options coexist as legitimate expressions of Christian
choice." This "prochoice" statement recently made by the
Catholic bishops of the United States has nothing to do with abortion. Rather,
it addresses the possibility of ending life on earth through nuclear war. On
that cataclysmic issue, the bishops’ pastoral letter on peace warns against
giving "a simple answer to complex questions." It calls for
"dialogue." Hand-wringingly sensitive to divergent views, the bishops
give all sides a hearing, even the winnable nuclear war hypothesis -- a
position they themselves find abhorrent. At times they merely raise questions
when, given their own views, they might well have roundly condemned.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Change the topic to abortion,
and nothing is the same. On this issue, the bishops move from the theological
mainstream to the radical religious right. Here they have only a single word to
offer us: No! No abortion ever -- yesterday, today or tomorrow. No conceivable
tragic complexity could ever make abortion moral. Here the eschaton is reached:
there is no "already but not yet"; there is only "already."
"Distinct moral options" do not exist; only unqualified opposition to
all abortions moves toward "the realization of the kingdom in
history." There is no need for dialogue with those who hold other views or
with women who have faced abortion decisions. Indeed, as Marquette University
theologian Dennis Doherty wrote some years ago, there seems to be no need even
for prayer, since no further illumination, divine or otherwise, is anticipated.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Here we have no first, second,
third and fourth drafts, no quibbles over "curbing" or
"halting." Here we have only "a simple answer to complex
questions." The fact that most Catholics, Protestants and Jews disagree
with this unnuanced absolutism is irrelevant. The moral position of those who
hold that not every abortion is murder is treated as worthless. Moreover, the
bishops would outlaw all disagreement with their view if they could, whether by
way of the Buckley-Hatfield amendment, the Helms-Hyde bill, or the Hatch
amendment.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">As a Catholic theologian, I
find this situation abhorrent and unworthy of the richness of the Roman
Catholic traditions that have nourished me. I indict not only the bishops, but
also the "petulant silence" (Beverly Harrison’s phrase) or
indifference of many Catholic theologians who recognize the morality of certain
abortions, but will not address the subject publicly. I indict also the
male-dominated liberal Catholic press which does too little to dissipate the
myth of a Catholic monolith on abortion. It is a theological fact of life that
there is no <i>one </i>normative Catholic position on abortion. The
truth is insufficiently known in the American polity because it is
insufficiently acknowledged by American Catholic voices.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">This misconception leads not
only to injustice but to civil threat, since non-Catholic as well as Catholic
citizens are affected by it. The erroneous belief that the Catholic quarter of
the American citizenry unanimously opposes all abortions influences legislative
and judicial decisions, including specific choices such as denying abortion
funding for poor women. The general public is also affected in those
communities where Catholic hospitals are the only health care facilities. The
reproductive rights of people living in such communities are curtailed if (as
is common) their hospital is administratively locked into the ultraconservative
view on abortion, and even on such reproductive issues as tubal ligation and
contraception. Physicians practicing at such hospitals are compromised.
Academic freedom is frequently inhibited at Catholic universities and colleges
-- public agencies that often are federal contractors -- with consequent
injustice to the students and to the taxpayers. (In the face of all of this,
non-Catholic citizens have been surprisingly and -- I dare aver --
uncourageously polite.)<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Ten years ago, Catholic
theologian Charles Curran stated in the <i>Jurist </i>(32:183 [1973])
that "there is a sizable and growing number of Catholic theologians who do
disagree with some aspects of the officially proposed Catholic teaching that
direct abortion from the time of conception is always wrong." That
"sizable number" has been growing since then despite the inhibiting
atmosphere. It is safe to say that only a minority of Catholic theologians
would argue that all abortions are immoral, though many will not touch the
subject for fear of losing their academic positions. (As one woman professor at
a large eastern Catholic university said, "I could announce that I had
become a communist without causing a stir, but if I defended <i>Roe v.
Wade </i>[the 1973 Supreme Court decision legalizing abortion in the
United States], I would not get tenure.")<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">To many, the expression
"Catholic pluralism" sounds like a contradiction in terms. The
Catholic system, however, does have a method for ensuring a liberal pluralism
in moral matters: a system called "probabilism." While it is
virtually unknown to most Catholics, probabilism became standard equipment in
Catholic moral theology during the 17th century. It applies to situations where
a rigorous consensus breaks down and people begin to ask when they may in good
conscience act on the liberal dissenting view -- precisely the situation with
regard to abortion today.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Probabilism was based on the
insight that a doubtful moral obligation may not be imposed as though it were
certain. "Where there is doubt, there is freedom" (<i>Ubi dubium, ibi
libertas</i>)<i> </i>was its cardinal principle. It gave Catholics the
right to dissent from hierarchical church teaching on a moral matter, if they
could achieve "solid probability," a technical term. Solid
probability could come about in two ways: <i>intrinsically, </i>in a
do-it-yourself fashion, when a person prayerfully discovered in his or her
conscience "cogent," nonfrivolous reasons for dissenting from the
hierarchically supported view; or <i>extrinsically, </i>when
"five or six theologians of stature held the liberal dissenting view, even
though all other Catholic theologians, including the pope, disagreed. Church
discipline required priest confessors who knew that a probable opinion existed
to so advise persons in confession even if they themselves disagreed with it.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">In a very traditional book, <i>Moral
and Pastoral Theology, </i>written 50 years ago for the training of
seminarians, Henry Davis, S.J., touched on the wisdom of probabilism by
admitting that since "we cannot always get metaphysical certainty" in
moral matters, we must settle for consenting "freely and reasonably, to
sufficiently cogent reasons."<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Three things are noteworthy
about probabilism: (1) a probable, opinion which allows dissent from the
hierarchically maintained rigorous view is entirely based on <i>insight </i>--<i> </i>one’s<i> </i>own
or that of at least five or six experts. It is not based on permission, and it
cannot be forbidden. (2) No moral debate -- -and that includes the abortion
debate -- is beyond the scope of a probabilistic solution. To quote Father
Davis again: "It is the merit of Probabilism that there are no exceptions
whatever to its application; once given a really probable reason for the
lawfulness of an action in a particular case, though contrary reasons may be
stronger, there are no occasions on which I may not act in accordance with the
good probable reason that I have found." (3) Probabilism is theologically
deep, going back to John and Paul’s scriptural teaching that Spirit-filled
persons are "taught of God," and to Thomas Aquinas’s doctrine that
the primary law for the believer is the grace of the Holy Spirit poured into
the heart, while all written law -- including even Scripture, as well as the
teachings of the popes and councils -- is secondary. Probabilism allows one to
dissent from the secondary through appeal to the primary teaching of the Spirit
of God. It is dangerous, of course, but it is also biblical and thoroughly
Catholic.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">There are far more than five
or six Catholic theologians today who approve abortions under a range of
circumstances, and there are many spiritual and good people who find
"cogent," nonfrivolous reasons to disagree with the hierarchy’s
absolutism on this issue. This makes their disagreement a "solidly
probable" and thoroughly respectable Catholic viewpoint. Abortion is
always tragic, but the tragedy of abortion is not always immoral.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">The Bible does not forbid
abortion. Rather, the prohibition came from theological and biological views
that were seriously deficient in a number of ways and that have been largely
abandoned. There are at least nine reasons why the old taboo has lost its
footing in today’s Catholic moral theology. In a 1970 article "A
Protestant Ethical Approach," in <i>The Morality of Abortion </i>(with
which few Catholic theologians would quarrel), Protestant theologian James Gustafson
pointed out five of the foundational defects in the traditional Catholic
arguments against all abortions: (1) These arguments relied on "an
external judge" who would paternalistically "claim the right to judge
the past actions of others as morally right or wrong," with insufficient
concern for the experience of and impact on mothers, physicians, families and
society. (2) The old arguments were heavily "juridical," and, as
such, marked by "a low tolerance for moral ambiguity." (3) The
traditional arguments were excessively "physical" in focus, with
insufficient attention to "other aspects of human life." (I would add
that the tradition did not have the advantage of modern efforts to define
personhood more relationally. The definition of person is obviously central to
the abortion question.) (4) The arguments were "rationalistic," with
necessary nuances "squeezed out" by "timeless abstractions"
which took the traditional Catholic reasoning "far from life." (5)The
arguments were naturalistic and did not put "the great themes of the
Christian faith at a more central place in the discussion." It would be
possible to parallel Gustafson’s fair and careful criticisms with exhortations
from the Second Vatican Council, which urged correctives in precisely these areas.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Other criticisms can be added
to Gustafson’s list: (6) The theology that produced the traditional ban on all
abortions was not ecumenically sensitive. The witness of Protestant Christians
was, to say the least, underesteemed. Vatican II condemned such an approach and
insisted that Protestants are "joined with us in the Holy Spirit, for to
them also He gives His gifts and graces, and is thereby operative among them
with His sanctifying power." The bishops and others who condemn all
abortion <i>tout court </i>should show some honest readiness to
listen in the halls of conscience to Protestant views on abortion before they
try to outlaw them in the halls of Congress.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">(7) Furthermore, the old
theology of abortion proceeded from a primitive knowledge of biology. The ovum
was not discovered until the 19th century. Because modern embryology was
unknown to the tradition, the traditional arguments were spawned in ignorance
of such things as twinning and recombination in primitive fetal tissue and of
the development of the cortex.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">On the other hand, the
teachings about abortion contained some remarkable scientific premonitions,
including the insight that the early fetus could not have personal status. Said
St. Augustine: "The law does not provide that the act [abortion] pertains
to homicide. For there cannot yet be said to be a live soul in a body that
lacks sensation when it is not formed in flesh and so is not endowed with
sense." As Joseph Donceel, S.J., notes, up until the end of the 18th
century "the law of the Roman Catholic Church forbade one to baptize an
aborted fetus that showed no human shape or outline." If it were a
personal human being, it would deserve baptism. On the question of a rational
soul entering the fetus, Donceel notes that Thomas Aquinas "spoke of six
weeks for the male embryo and three months for the female embryo." In
Aquinas’s hylomorphic theory, the<i>matter </i>had to be ready to receive
the appropriate <i>form. </i>According to such principles, as
Rosemary Ruether points out, "Thomas Aquinas might well have had to place
the point of human ensoulment in the last trimester if he had been acquainted
with modern embryology."<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">If the bishops and other
negative absolutists would speak of tradition, let them speak of it in its full
ambiguity and subtlety, instead of acting as though the tradition were a
simplistic, Platonic negative floating through time untouched by contradiction,
nuance or complexity.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">(8) Vatican II urged priests
and church officers to have "continuous dialogue with the laity." The
arguments prohibiting all abortion did not grow out of such dialogue, nor are
the bishops in dialogue today. If they were, they would find that few are
dancing to the episcopal piping. A November 1982 Yankelovich poll of Catholic
women shows that fewer than one-fifth would call abortion morally wrong if a
woman has been raped, if her health is at risk, or if she is carrying a
genetically damaged fetus. Only 27 per cent judge abortion as wrong when a
physically handicapped woman becomes pregnant. A majority of Catholic women
would allow a teen-ager, a welfare mother who can’t work, or a married woman
who already has a large family to have an abortion.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Since the tradition has been
shaped by the inseminators of the species (all Catholic theologians, priests
and bishops have been men), is the implication that there is no value in the
witness of the bearers? Why has all authority on this issue been assumed by men
who have not been assigned by biology to bear children or by history to rear
them? Are the Catholic women who disagree with the bishops all weak-minded or
evil? Is it possible that not a single Catholic bishop can see any ambiguity in
any abortion decision? The bishops are not unsubtle or unintelligent, and their
pastoral letter on peace shows a surefooted approach to complexity. Their
apparent 100 per cent unanimity against all abortion is neither admirable nor
even plausible. It seems, rather, imposed.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">(9) This leads to the question
of sin and sexism. Beverly Harrison (professor of Christian ethics at Union
Theological Seminary in New York) charges that "much discussion of
abortion betrays the heavy hand of the hatred of women." Are the negative
absolutists sinlessly immune to that criticism? Since the so-called
"prolife" movement is not dominated by vegetarian pacifists who find
even nonpersonal life sacred, is the "prolife" fetal fixation
innocent? Does it not make the fertilized egg the legal and moral peer of a
woman? Indeed, in the moral calculus of those who oppose all abortion, does not
the <i>potential </i>person outweigh the <i>actual </i>person
of the woman? Why is the intense concern over the 1.5 million abortions not
matched by an equal concern over the male-related causes of these 1.5 million
unwanted pregnancies? Has the abortion ban been miraculously immune to the
sexism rife in Christian history?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Feminist scholars have
documented the long record of men’s efforts to control the sexuality and
reproductivity of women. Laws showcase our biases. Is there no sexist bias in
the new Catholic Code of Canon Law? Is that code <i>for</i> life or <i>against </i>women’s
control of their reproductivity? After all, canon law excommunicates a person
for aborting a fertilized egg, but not for killing a baby after birth. One
senses here an agenda other than the simple concern for life. What obsessions
are operating? A person could push the nuclear button and blow the ozone lid
off the earth or assassinate the president (but not the pope) without being
excommunicated. But aborting a five-week-old precerebrate, prepersonal fetus
would excommunicate him or her. May we uncritically allow such an embarrassing
position to posture as "prolife"? Does it not assume that women cannot
be trusted to make honorable decisions, and that only male-made laws and
male-controlled funding can make women responsible and moral about their
reproductivity?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">The moral dilemma of choosing
whether to have an abortion faces only some women between their teens and their
40s. The self-styled "prolife" movement is made up mainly of men and
postfertile women. Is there nothing suspicious about passionately locating
one’s orthodoxy in an area where one will never be personally challenged or
inconvenienced?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">A moral opinion merits
respectable debate if it is supported by serious reasons which commend
themselves to many people and if it has been endorsed by a number of reputable
religious or other humanitarian bodies. Note the two requirements: <i>good
reasons </i>and <i>reliable authorities.</i>The principle of
respectable debate is based on some confidence in the capacity of free minds to
come to the truth, and on a distrust of authoritarian shortcuts to consensus
and uniformity. This principle is integral to American political thought and to
the Catholic doctrine of probabilism. On the other hand, prohibition represents
a despairing effort to compel those whom one cannot convince; it can only raise
new and unnecessary doubts about Catholic compatibility with democratic political
life.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">But what of legislators who
personally believe that all abortion is wrong? Those legislators must recognize
that it is not their function to impose their own private moral beliefs on a
pluralistic society. St. Augustine and St. Thomas Aquinas both found
prostitution morally repugnant, but felt that it should be legalized for the
greater good of the society. St. Thomas wryly but wisely suggested that a good
legislator should imitate God, who could eliminate certain evils but does not
do so for the sake of the greater good. The greater good supported by the
principle of respectable debate is the good of a free society where conscience
is not unduly constrained on complex matters where good persons disagree. Thus
a Catholic legislator who judges all abortions to be immoral may in good
conscience support the decisions of <i>Roe v. Wade, </i>since that
ruling is permissive rather than coercive. It forces no one to have an
abortion, while it respects the moral freedom of those who judge some abortions
to be moral.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Good government insists that
essential freedoms be denied to no one. Essential freedoms concern basic goods
such as the right to marry, the right to a trial by jury, the right to vote,
the right to some education and the right to bear <i>or not to bear </i>children.
The right not to bear children includes abortion as a means of last resort.
Concerning such goods, government should not act to limit freedom along income
lines, and should ensure that poverty takes no essential freedoms from any
citizen. Furthermore, the denial of abortion funding to poor women is not a
neutral stance, but a natalist one. The government takes sides on .the abortion
debate by continuing to pay for births while denying poor women funds for the
abortion alternative that is available to the rich. Funding cutbacks are also
forcing many to have later abortions, since they have to spend some months
scraping up the funds denied them by the government. The denial of funding is
an elitist denial of moral freedom to the poor and a stimulus for later or
unsafe abortions.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">Abortion has become the
Catholic orthodoxy’s stakeout. In January 1983, California Bishop Joseph Madera
threatened excommunication for "lawmakers who support the effective
ejection from the womb of an unviable fetus." (His warning also extended
to "owners and managers of drugstores" where abortion-related
materials are sold.) In a bypass of due process, Sister Agnes Mary Mansour was
pressured out of her identity as a Sister of Mercy because her work for the
poor of Michigan involved some funding for abortions. Despite his distinguished
record in working for justice and peace, Robert Drinan, S.J., was ordered out
of politics by the most politically involved pope of recent memory. I am not
alone in seeing a link between this and the, antecedent right-wing furor over
Father Drinan’s position on abortion funding. The 4,000 Sisters of Mercy (who
operate the second-largest hospital system in the U.S., after the Veterans
Administration) were ordered, under threat of ecclesiastical penalties, to
abandon their plan to permit tubal ligations in their hospitals. A Washington,
D.C., group called Catholics for Free Choice had its paid advertisements turned
down by <i>Commonweal, </i>the <i>National Catholic Reporter </i>and <i>America. </i>This
group is not promoting abortions, but simply honestly acknowledging Catholic
pluralism on the issue. (Interestingly, the only "secular" magazine
to refuse their advertisement was the <i>National Review.</i>)<i> </i>In
June 1983, Lynn Hilliard, a part-time nurse in a Winnipeg, Manitoba, clinic
where abortions are performed, had her planned marriage in a Catholic parish
peremptorily canceled by Archbishop Adam Exner two weeks before the event, even
though the archbishop admitted he did not know whether Ms. Hilliard was
formally responsible for any abortions. In the face of all this injustice,
Catholic theologians remain remarkably silent; they exhibit no signs of anger.
Seven hundred years ago, Thomas Aquinas lamented that we had no name for the
virtue of anger in our religious lexicon. He quoted the words of St. John
Chrysostom, words that are still pertinent today: "Whoever is without
anger, when there is cause for anger, sins."<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 115%;"><b>Viewed 20786 times.</b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 115%;"><b>Adenda</b></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 115%;"><b><br /></b></span></div>
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<b><span lang="EN-US" style="color: navy; font-family: Verdana, sans-serif; font-size: 10pt;">SOCIAL ISSUES</span></b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: navy; font-family: Verdana, sans-serif; font-size: 10pt;"><br /></span></b></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=73"><span lang="EN-US" style="color: purple;">Abortion</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=78"><span lang="EN-US" style="color: purple;">Capitalism/Communism</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=61"><span lang="EN-US" style="color: purple;">Church and State</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=74"><span lang="EN-US" style="color: purple;">Drugs</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=45"><span lang="EN-US" style="color: purple;">Ecology/Environment</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=90"><span lang="EN-US" style="color: purple;">Globalization</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=58"><span lang="EN-US" style="color: purple;">Homosexuality</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=88"><span lang="EN-US" style="color: purple;">Law and Order</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=71"><span lang="EN-US" style="color: purple;">Poor and Oppressed</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm -90pt 0.0001pt 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=77"><span lang="EN-US" style="color: purple;">Pornography</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm -90pt 0.0001pt 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=79"><span lang="EN-US" style="color: purple;">Public Education</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm -90pt 0.0001pt 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=60"><span lang="EN-US" style="color: purple;">Public Policy</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=96"><span lang="EN-US" style="color: purple;">Terrorism</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="color: purple;"><a href="http://www.religion-online.org/listbycategory.asp?Cat=72">Other Social Issues</a></span></span><span style="font-family: Verdana, sans-serif; font-size: 13.5pt;"><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">In Spanish: see<b> </b></span><a href="http://www.fundacionemiliamariatrevisi.com/iglesia.htm" style="background-color: white; color: #1111cc; cursor: pointer; font-family: arial, sans-serif; text-decoration: none;" target="_blank"><span style="font-family: Tahoma;"><b>Iglesia</b></span></a></div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-23276759972095507462012-07-28T12:20:00.002-07:002012-10-13T11:16:15.972-07:00AYUDA MEMORIA ( ´S: "IS" OR "HAS"? )<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: Verdana, sans-serif;">SAY IT NOW british institute</span></b></td></tr>
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</div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="background-color: white; font-family: Verdana, sans-serif;"><b>Consejos (y datos) que te van a ayudar a
traducir; tenlos siempre a mano</b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Si te preguntáramos qué significa "gato", seguramente nos vas a
pedir que la "pongamos en marcha" para poder contestar. Si te
dijéramos "Se me rompió el gato" inmediatamente te darías cuenta que
no es precisamente del “mamífero felino” sino del que te levanta el auto.<b> <span style="color: red;">Lo mismo sucedería
si te preguntáramos por la palabra "SE"</span></b>.<b><span style="color: red;"> No es el mismo
"SE" en SE DICE que en SE MATÓ.<o:p></o:p></span></b></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Sin embargo, si te presentáramos la palabra "pomodoreamos"
sabrías de qué se trata; dirías que es
un verbo, AUNQUE SEGUIRíAS SIN SABER SU SIGNIFICADO. La terminación ...AMOS te
dio la pauta.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Para traducir del inglés al castellano es necesario conocer esas
"claves" (...amos); acaso sean sólo
letras o combinaciones de
letras, o de toda una serie de características que nos
"avisan" de qué se trata para poder buscar en el diccionario.<o:p></o:p></span></span></div>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">En 'the leaves ' , leaves es un
SUSTANTIVO por estar precedido por THE, artículo; en 'he leaves', leaves es un
verbo por estar precedido por HE,
pronombre.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">De no haber procedido a este análisis -sustantivo o verbo- al ir al
diccionario NO SABRIA cómo buscar.
Cuando 'leaves' es verbo, significa PARTIR; cuando es sustantivo, HOJA. ¿Qué
elegiría de no haber hecho el correspondiente análisis?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Si nos permites una sugerencia, analiza ,ante todo, los VERBOS; APRENDE
LAS CLAVES VERBALES; una vez identificado el verbo, los contenidos a su
izquierda son sustantivos y adjetivos. Con eso ya has resuelto las tres cuartas
partes del problema.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">1. IT</span></b><span lang="EN-US"> significa "lo". </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"> A veces no significa nada:<b> It’s drink</b>, es la bebida.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"> Reemplaza, como pronombre, a los
animales y a las cosas</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">2. THEM </span></b><span lang="EN-US">significa "los, las"<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">3. I AM</span></b><span lang="EN-US"> significa "soy/estoy"<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">4. 'S </span></b><span lang="EN-US">puede ser 'IS' , 'HAS' o caso posesivo<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> HE'S coming (IS), viene, está
viniendo. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> HE'S gone (HAS), se ha ido.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> THE BOY'S BOOK, el libro del
niño<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">5. ...ER</span></b><span lang="EN-US">; sufijo de comparación: largER
than: mas grande que.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> Idem verbal, para
sustantivar: speak, hablar; speakER, locutor.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">6. ...EST</span></b><span lang="EN-US">; sufijo de superlación: the largEST., el más grande.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">7.</span></b><span lang="EN-US"> Cuando un sufijo (...er /...est
/...ed, etc ) va precedido de doble consonante </span></span><span style="background-color: white; font-family: Verdana, sans-serif;">idéntica (biGGest / swiMMing,
etc) para buscar la palabra en el diccionario s</span><span style="background-color: white; font-family: Verdana, sans-serif;">e debe eliminar, junto con el
sufijo, una de las consonantes. (biGGEst: big)</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">8. TURN</span></b><span lang="EN-US">
quiere decir, entre otras cosas, GIRAR. Sin embargo, seguido de una <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> partícula adverbial ( ON, por ejemplo)
cambia su significado: ENCENDER. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> ESTO SUCEDE CON GRAN CANTIDAD DE VERBOS
(get on, look after, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> etc). <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">9. La S</span></b><span lang="EN-US"> final es clave verbal (he
leaveS, parte, sale) pero también clave de <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> plural de sustantivos: catS (gatos).<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">10 DO </span></b><span lang="EN-US">significa hacer, pero no tiene
significado cuando es un auxiliar: I DO my </span></span><span style="background-color: white; font-family: Verdana, sans-serif;">homework (hago los deberes) pero DO you
come on Sundays? (¿vienes los</span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> domingos?)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">11 ...ES </span></b><span lang="EN-US"> es clave verbal y sustrantiva. (He pushES
-empuja- leavES, hojas)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">12 ...LY </span></b><span lang="EN-US">es sufijo verbal; significa
MENTE; final<b>LY</b>, final<b>MENTE</b>)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">13 SO</span></b><span lang="EN-US"> significa TAN : so good, tan
bueno.; también significa POR LO TANTO, <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> ASI<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">14 THAT </span></b><span lang="EN-US">significa QUE: he said that
Mary..., DIJO QUE MARIA; en este uso -<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> conjunción- puede suprimirse he said
Mary...; también significa </span></span><span style="background-color: white; font-family: Verdana, sans-serif;"> ESE/AQUEL (ése-aquél)</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"><b>15. WAS Y WERE</b> son pasados de TO BE (ser/estar)</span><span lang="EN-US"><o:p></o:p></span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">16...ING</span></b><span lang="EN-US">. Equivale a
"...ando/endo", aunque no siempre: The wind is blowING <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">-el
viento está soplando- pero <b>Learning</b> English is... -<b>aprender</b> inglés es..<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">17 HAVE </span></b><span lang="EN-US">significa tener: I have a book
(TENGO un libro)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> haber: He has
learnt it (lo HA aprendido)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> hacer: Thay have it
washed (lo HACEN lavar)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">18. HAVE </span></b><span lang="EN-US">con JUST y un participio pasado
(...ado/ido) se traduce por ACABAR <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> DE<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> He has just come: acaba de venir<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> He had just come: acababa de venir.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">19. </span></b><span lang="EN-US">Los participios pasados se
traducen al castellano por ...ado/ido<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> washED: lavado / gone: ido<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">20. BE</span></b><span lang="EN-US"> más participio pasado es VOZ
PASIVA. En este caso BE siempre se <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> traduce
por SER: he will BE TAUGHT, se le enseñará (será enseñado)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">21. "SE" </span></b><span lang="EN-US">en castellano es forma de pasiva. Se analizará el agua (el agua será <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> analizada)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">22. HAVE GOT </span></b><span lang="EN-US">significa lo
mismo que have: tener. He has got a dog idem he <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> has a dog, tiene un perro..<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">23</span></b><span lang="EN-US">. Siempre que detrás de una
preposición haya un verbo, éste estará en .<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> ING<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> BY learnING: aprendiendo<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> FOR comING, para venir <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">24 ...ED</span></b><span lang="EN-US"> es clave de tiempo pasado y de
participio pasado.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">25. ASK </span></b><span lang="EN-US">significa preguntar o pedir.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">26 GET</span></b><span lang="EN-US"> es un escándalo de significados. Busque bien a fondo en diccionario.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">27</span></b><span lang="EN-US"> Se recomienda el uso de un buen
diccionario.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">28 </span></b><span lang="EN-US">Las diferencias ortográficas
entre el inglés americano y el británico
se <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> remiten a algunas terminaciones que no
perjudican ni su búsqueda ni su <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> interpretación.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> HonOUR se transforma en honOR en americano;
colOUR en colOR, etc.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> TraveLLer se trasnsforma en TRAVELER ;
waGGon en waGon, etc<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> CentRE en centER; theatRE en theatER.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> DefenCe se transforma en defenSe<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"> Plough en plow; tyre en tire; gaol en
jail; determine, examine y doctrine en </span></span><span style="background-color: white; font-family: Verdana, sans-serif;">americano suprimen la "E"
final. </span></div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-19726505747330349682012-07-28T10:32:00.004-07:002012-10-13T11:16:30.273-07:00COMPUTERS: TRANSLATE INTO SPANISH<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6s6fPWMdvpe-NBdF_f4BjmST-w3E5XrLY4nLXAZCy2fh34-Ve8xx8-NiIREkdF_qr2Hvj-uGgUoo_QKCFBEQaKW0T58MvzYrs5McjvBw4YwzMmEta8qI8NmzwQ0gJA-0x8M8JytdI1Mu/s1600/SAY+IT+NOW.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6s6fPWMdvpe-NBdF_f4BjmST-w3E5XrLY4nLXAZCy2fh34-Ve8xx8-NiIREkdF_qr2Hvj-uGgUoo_QKCFBEQaKW0T58MvzYrs5McjvBw4YwzMmEta8qI8NmzwQ0gJA-0x8M8JytdI1Mu/s200/SAY+IT+NOW.JPG" width="85" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;"><b>SAY IT NOW british institute</b></span></td></tr>
</tbody></table>
<br />
<b><span style="color: blue;">G</span>RAMÁTICA <span style="color: blue;">I</span>NGLESA <span style="color: blue;">I</span>NTERACTIVA</b> (CD)</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">Más de 600 oraciones que abordan </span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">toda la gramática inglesa con diccionario, tiempos verbales, verbos especiales, ejercitación y demás</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div align="center" class="MsoNormal">
<span style="font-family: Arial, sans-serif; font-size: 14pt;">Se puede consultar igualmente </span></div>
<div align="center" class="MsoNormal">
<a href="http://justenglish.blogspot.com.es/"><span style="font-family: Verdana, sans-serif;">http://justenglish.blogspot.com.es/</span></a>
</div>
<br />
<div class="MsoTitle">
<br /></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<div style="text-align: left;">
<br />
<div style="text-align: center;">
<span style="color: #474b4e; font-family: Helvetica, Arial, sans-serif;"><span style="line-height: 14px;"><br /></span></span></div>
<ul id="recently" style="color: #474b4e; font-family: Helvetica, Arial, sans-serif; list-style: none; margin: 0px; padding: 0px;">
<li style="line-height: 0.9; padding-bottom: 5px;"><b style="font-family: Verdana, sans-serif;"><i><span lang="EN-US" style="color: navy;">Textos para traducir</span></i></b></li>
</ul>
</div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="background-color: white; color: maroon; font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="background-color: white; color: maroon; font-family: Verdana, sans-serif;">¿Cómo no hablar de
computación? A propósito de 'computers'... en los textos que te sugerimos que
interpretes vas a notar la
"transparencia" de la mayoría de las palabras: anuncian su
traducción.</span></div>
</div>
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<br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>DICTIONARY:<a href="http://www.wordreference.com/"> http://www.wordreference.com</a></b></span><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNanfxoZbwSptYIDfcROoAgi1-wBYglersLeQCwxbFvHM9l8GWE_701zu2A0OkHzgY_eQYRek5-Kl5fcyNIugBsz-LT-oNdVcXey4DmuLQp0Xmm392knfYmalpQ5d1EPy-1Z6LUsedUVjM/s1600/computerseducation.bmp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNanfxoZbwSptYIDfcROoAgi1-wBYglersLeQCwxbFvHM9l8GWE_701zu2A0OkHzgY_eQYRek5-Kl5fcyNIugBsz-LT-oNdVcXey4DmuLQp0Xmm392knfYmalpQ5d1EPy-1Z6LUsedUVjM/s1600/computerseducation.bmp" /></a><b style="background-color: white;"><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">COMPUTERS IN EDUCATION</span></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">(***)<o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">1.</span></b><span lang="EN-US"> The 1980s witnessed the introduction and widespread use of personal
computers at all levels of
schooling. During the decade the number
of computers used in U.S. elementary and
secondary schools increased from under 100,000 to over 2.5 million. A majority of students now use computers and
COMPUTER SOFTWARE sometime during the school year--either to learn about
computers or as a tool for learning other subjects. By the end of the decade, the typical school
had 1 computer per 20 students, a ratio that computer educators feel is still
not high enough to affect classroom learning as much as books and classroom
conversation do.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h1>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Witnessed: dar testimonio / widespread:
difundido / schooling: enseñanza / increased: aumentar / from... to:
desde...hasta / sometime: alguna vez, en algún momento / ratio: promedio /
classroom learning: aprendizaje áulico / do: reemplaza a affect, afectar. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">2.</span></b><span lang="EN-US"> Some critics see computer education as merely the latest in a series of
unsuccessful attempts to revolutionize education through the use of audio- and
visually-oriented nonprint media. For example, motion pictures, broadcast
television, audio recorders, and
videotapes were all initially heralded for their instructional potential, but
each of these ultimately became minor classroom tools alongside conventional
methods. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h1>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Merely: meramente / latest: la última /
unsuccessful: sin éxito / through: por medio de / broadcast: transmisión /
heralded: estimados / tools: herramientas / alongside: en comparación con .<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">3.</span></b><span lang="EN-US"> Supporters believe, however, that computers are a much more powerful
learning medium than the others that preceded it. They cite the essential
interactive nature of using computers programmed to provoke decision making and
manipulations of visual environments.
Also, each computer is controlled by one student or pair of
students. Learning tasks can become more
individualized, enabling each student to receive immediate feedback. Some experts say that having students work
collaboratively on computers leads to greater initiative and more autonomous
learning. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h1>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Supporters: los que están a favor /
learning medium: recurso de aprendizaje / cite: nombrar / decision making: toma
de decisiones / environments: entornos / tasks: tareas / enabling: autorizar /
feedback: retroalimentación / having
students work: hacer trabajar a los estudiantes / leads: conducir .<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">4.</span></b><span lang="EN-US"> Computers in elementary and secondary schools are used in two major
contexts. The first is
computer-education instruction: how to
use WORD PROCESSING programs; how to program computers in languages such as
BASIC, PASCAL, and LOGO ; and how to use
other computer applications such as database programs.and spread-sheets. One-half of computer use by secondary
students and one-third of the use of elementary students is of this kind. From 1985 to 1989, keyboarding and
word-processing instruction increased rapidly, but computer-programming
instruction declined, as schools sought to involve all students in computer
education, not just the few excited by programming.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulalrio</span></span></h2>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Spread-sheets: planillas de cálculo /
use: sust., uso / kind: tipo, forma /
declined: declinar / sought: pasado de seek, buscar / few: pocos / excited:
entusiasmados<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h3>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Personal Computers</span></span></h3>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"> </span><b><span lang="EN-US">(+++)<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">1.</span></b><span lang="EN-US"> A personal computer is a computer that is based on a MICROPROCESSOR, a
small SEMICONDUCTOR chip that performs the operations of a CENTRAL PROCESSING
UNIT (CPU). The general class of
microcomputers comprises computers based on microprocessors. The personal
computer is a microcomputer.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Personal computers are single-user machines, whereas larger computers
generally have multiple users. The first
generation of personal computers were distinguishable from MINICOMPUTERS by a small memory capacity, typically in the
16-64 kilobyte range (a kilobyte, or K, is 1,024 BYTES). Models available from
the mid-1980s, however, had memories in the megabyte to gigabyte range (a
megabyte, or M, is 1,024K, and a gigabyte is 1,024M); this increased memory capacity equaled and
even surpassed the power of earlier mini-computers.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h1>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Comprises: comprender, abarcar /
single-user: usuario único / whereas: en cambio, mientras que / range: rango /
available: disponibles / mid-1980s: mediados de los '80 / however: sin embargo
/ surpassed: sobrepasar / earlier: (las) primeras<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">2.</span></b><span lang="EN-US"> Basic Structure<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">A computer system consists of three parts: the central processing unit (CPU),
INPUT-OUTPUT DEVICES, and memory. A CPU
performs arithmetic and logic operations.
The microprocessors of personal computers process data in 8-bit, 16-bit,
or 32-bit chunks (see BIT, COMPUTER).<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">The most common input-output devices are keyboards and cathode-ray tube
(CRT) displays, which can provide both graphic and text modes. Other input-output devices include modems,
for interacting over the telephone; the
mouse, joystick, and light pen, for making tactile input; and printers, for producing hard, or
permanent, output.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h1>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Performs: ejecutar, llevar a cabo / devices: instrumentos / both: ambos /
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">tactile inputs: entradas dactilográficas.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">3.</span></b><span lang="EN-US"> Primary memory refers to memory that is directly accessible by the
CPU. Many older CPUs have primary
memories with 64-kilobyte capacities.
Newer processors can handle 1 megabyte or more. Personal computers are often packaged with
less primary memory than the CPU can handle.
A wide range of add-on memory devices, have, therefore, been made
available.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h2>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Older: más viejos / newer: más nuevos /
handle: manejar / packaged: (en este caso) vendidas / add-on memory: que
agregan memoria.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">4.</span></b><span lang="EN-US"> Secondary memory refers to external memory required for storing data
that will not fit into the computer's primary memory. Secondary-memory media
typically used in personal computers include one or more magnetic floppy disks,
each of which can store up to about 1.4 million characters of text information,
and internally mounted hard disks that can store about 20 million or more
characters each. (Continued)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h2>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h2>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Storing: almacenar / fit: caber
.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h4>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">INTELIGENCIA ARTIFICIAL</span></span></h4>
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<br /></div>
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<b><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">(+++)<o:p></o:p></span></span></b></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">1.</span></b><span lang="EN-US"> Artificial intelligence (AI) is the ability of an artificial mechanism
to exhibit intelligent behavior.
Artificial intelligence is also the name of the field in which
artificial mechanisms that exhibit intelligence are developed and studied. The
term invites philosophical speculation about what constitutes the mind or
intelligence. Such questions can be
considered separately, however, as the endeavor to construct and understand
increasingly sophisticated mechanisms remains.<o:p></o:p></span></span></div>
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<br /></div>
<h2>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario</span></span></h2>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Behavior conducta / developed: desarrollar
/ term: término / mind: mente / endeavor: esfuerzo / increasingly: que
aumentan / remains: permanecer.<o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US">2.</span></b><span lang="EN-US"> While research in all aspects of AI is vigorous, there is concern that
both the progress and expectations of AI have been overstated. AI programs are primitive when compared to
the kinds of intuitive reasoning and induction of which the human brain is
capable. AI has shown great promise in
the area of EXPERT SYSTEMS, or knowledge-based expert programs, which, although
powerful when answering questions within a specific domain, are nevertheless
incapable of any type of adaptable, or truly intelligent, reasoning.<o:p></o:p></span></span></div>
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<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario<o:p></o:p></span></span></h1>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">While: mientras / research: investigación / concern: acuerdo /
overstated: sobreestimado / kinds: tipos, clases / reasoning: razonamiento /
brain: cerebro / capable: capaz / shown: mostrar / knowledge-based: basados en
el conocimiento / although: aunque / within: dentro de / nevertheless: sin
embargo.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoBodyText2">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">3. Examples of artificially intelligent
systems include computer programs that perform medical diagnoses, legal
reasoning, speech understanding, vision interpretation, natural-language
processing, problem solving, and learning. Most of these systems are far from
being perfected. Most have proved
valuable, however, either as research vehicles or in specific, practical
applications. (Continued)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span lang="EN-US"><span style="font-family: Verdana, sans-serif; font-size: small;">Vocabulario<o:p></o:p></span></span></h1>
<div class="MsoNormal">
<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">Speech: habla / solving:
resolución / </span>far from: lejos de /
either...or: o...o / <a href="http://wordreference.com/">DICTIONARY: WORD REFERENCE</a></span><span style="font-family: Arial, sans-serif; font-size: 12pt;"><o:p></o:p></span></span></div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-61381747996129545692012-05-24T02:33:00.003-07:002012-10-13T11:18:10.363-07:00ART. IMPRESSIONISM, A BIRD´S EYE VIEW<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<div align="center" style="margin-bottom: .0001pt; margin: 0cm; text-align: center;">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 20pt;">NEW YORK CITY</span></b></div>
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<span style="font-family: Verdana, sans-serif; font-size: 14pt;">A bird’s eye view on</span></div>
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<br /></div>
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<b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif; font-size: 16pt;">ART<o:p></o:p></span></b><br />
<b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif; font-size: 16pt;"><br /></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJdpcPClAQbXSTXP3dszMdj0mWqua1Dx9e0fBRmHlmwkxtHYAgVft1Nw0sXYu4v9Z_vi0-QUtmWeiO81cTaw-CZAExg_VDXy0N2LaQz_EldHFdWO4Ig5RPcpYpsMPzlpxcZFBFSKiN77_/s1600/Imagen121.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEJdpcPClAQbXSTXP3dszMdj0mWqua1Dx9e0fBRmHlmwkxtHYAgVft1Nw0sXYu4v9Z_vi0-QUtmWeiO81cTaw-CZAExg_VDXy0N2LaQz_EldHFdWO4Ig5RPcpYpsMPzlpxcZFBFSKiN77_/s200/Imagen121.jpg" width="116" /></a></div>
<b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif; font-size: 11pt;"><br /></span></b>
<b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif; font-size: 11pt;">Styles of
Painting<o:p></o:p></span></b></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif; font-size: 14pt;">Music and
Literature<o:p></o:p></span></b></div>
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<br /></div>
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<b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif;">19<sup>th</sup> </span></b><b><span lang="EN-GB" style="font-family: Verdana, sans-serif;">& </span></b><b><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif;">20<sup> th <o:p></o:p></sup></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><sup><span lang="EN-GB" style="color: #c00000; font-family: Verdana, sans-serif; font-size: 14pt;">Centuries<o:p></o:p></span></sup></b></div>
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<span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>ABSTRACT</b></span><br />
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><b><br /></b></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 10pt;">Carlos A. Trevisi</span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 10pt;">Coordinator<o:p></o:p></span></b></div>
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<span style="color: #d8300e;"><span style="font-size: 27px;"><b><br /></b></span></span></div>
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<b><span style="color: #418357; font-family: 'Monotype Corsiva'; font-size: 26pt;">E.L.</span></b><b><span style="color: #4f81bd; font-family: 'Monotype Corsiva'; font-size: 24pt;"> </span></b><span style="font-family: Verdana, sans-serif; font-size: 10pt;">Editorial LIBRORUM</span></div>
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<b><span style="font-family: Verdana, sans-serif; font-size: 10pt;">Madrid - Buenos Aires<o:p></o:p></span></b></div>
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<b><span style="font-family: Verdana, sans-serif; font-size: 10pt;">2011<o:p></o:p></span></b></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0cm; text-align: center;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 10pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 10pt;"> </span></div>
<div align="center" style="margin-bottom: .0001pt; margin: 0cm; text-align: center;">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 10pt;">***</span></b></div>
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</div>
<h1 align="center" style="margin-bottom: .0001pt; margin: 0cm; mso-line-height-alt: 1.0pt; text-align: center;">
<span lang="EN" style="font-family: Verdana, sans-serif;">Styles of painting<o:p></o:p></span></h1>
<h1 align="center" style="margin-bottom: .0001pt; margin: 0cm; mso-line-height-alt: 1.0pt; text-align: center;">
<span lang="EN" style="font-family: Verdana, sans-serif;"><br /></span></h1>
<h1 style="margin: 0cm; text-align: left;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: small;">Impressionism </span></h1>
<h1 style="margin: 0cm 0cm 0.0001pt;">
<strong><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt; font-weight: normal;"><br /></span></strong></h1>
<h1 style="margin: 0cm 0cm 0.0001pt;">
<strong><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt; font-weight: normal;">The impressionist style of
painting is characterized chiefly by concentration on the general impression
produced by a scene or object and the use of unmixed primary colors and small
strokes to simulate actual reflected light.</span></strong></h1>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Impressionism, French <cite>Impressionnisme</cite>, a
major movement, first in painting and later in music, that developed chiefly in
France during the late 19th and early 20th centuries. Impressionist painting
comprises the work produced between about 1867 and 1886 by a group of artists
who shared a set of related approaches and techniques. The most conspicuous
characteristic of Impressionism was an attempt to accurately and objectively
record visual reality in terms of transient effects of light and colour. The
principal Impressionist painters were </span><b><span lang="EN" style="color: #0049da; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/monet/"><span style="color: #0049da;">Claude Monet</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/renoir/"><span style="color: #0049da;">Pierre Auguste Renoir</span></a>,
<a href="http://www.ibiblio.org/wm/paint/auth/pissarro/"><span style="color: #0049da;">Camille
Pissarro</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/sisley/"><span style="color: #0049da;">Alfred
Sisley</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/morisot/"><span style="color: #0049da;">Berthe
Morisot</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/guillaumin/"><span style="color: #0049da;">Armand
Guillaumin</span></a>, </span></b><span lang="EN" style="color: #0049da; font-family: Verdana, sans-serif; font-size: 10pt;">and <b><a href="http://www.ibiblio.org/wm/paint/auth/bazille/"><span style="color: #0049da;">Frédéric Bazille</span></a></b>,
</span><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">who worked together, influenced each other,
and exhibited together independently</span><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;">. <b><a href="http://www.ibiblio.org/wm/paint/auth/degas/"><span style="color: blue;">Edgar Degas</span></a></b> </span><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">and </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/cezanne/"><span style="color: blue;">Paul
Cézanne</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> also painted in an
Impressionist style for a time in the early 1870s. The established painter </span><b><u><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/manet/"><span style="color: blue;">Édouard Manet</span></a></span></u></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, whose work in the 1860s greatly influenced Monet and
others of the group, himself adopted the Impressionist approach about 1873. <o:p></o:p></span></div>
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<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">
</span><br />
<hr align="center" size="2" width="100%" />
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">
</span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Tout l'impressionnisme est né de la
contemplation et de l'imitation des impressions claires du Japon.<o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"><br />
-- Ed. et J. de Goncourt, <cite>Journal</cite>,
19 avr. 1884. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">En réalité l'Impressionnisme est multiple: le
terme si critiqué est surtout mauvais parce qu'on l'emploie tantôt dans un sens
large, tantôt dans un sens étroit. </span><span style="font-family: Verdana, sans-serif; font-size: 10pt;">Il y a l'impressionnisme de </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/manet/"><span lang="ES" style="color: blue;">Manet</span></a></span></b><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> qui peint clair. Il y a celui
de Manet encore et de </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/degas/"><span lang="ES" style="color: blue;">Degas</span></a></span></b><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> qui
spécule sur l'emploi d'une nouvelle perspective. Il y a celui de </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/pissarro/"><span lang="ES" style="color: blue;">Pissarro</span></a></span></b><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> et de </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/renoir/"><span lang="ES" style="color: blue;">Renoir</span></a></span></b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"> </span><span style="font-family: Verdana, sans-serif; font-size: 10pt;">qui se
fondent sur le plein air et l'emploi des tons purs. Il y a enfin celui de </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/monet/"><span lang="ES" style="color: blue;">Monet</span></a></span></b><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> qui unit une conception
lyrique de la vision avec une analyse quasi scientifique des sensations
colorées et qui substitue au dessin classique la notation des ombres et des
reflets. Toutes ces tendances ont un caractère commun: elles se fondent sur une
tentative pour substituer aux conventions de l'école l'analyse des données
pures des sens. Et c'est par là qu'elles méritent finalement toutes, en commun,
le nom d'Impressionnisme. <br />
-- P. Francastel, <cite>Nouveau
dessin, nouvelle peinture, III</cite>. <o:p></o:p></span></div>
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</span><br />
<hr align="center" size="2" width="100%" />
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">
</span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The word “impressionniste'' was printed for
the first time in the <cite>Charivari</cite>
on the 25 April 1874 by Louis Leroy, after </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/monet/"><span style="color: blue;">Claude Monet</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">'s landscape entitled <cite>Impressions: soleil levant</cite> [<cite>Impressions</cite>]. This
word was used to call <cite>Exposition
des Impressionnistes</cite> an exhibit hold in the salons of the
photographer Nadar and organized by the ``Société anonyme des peintres,
sculpteurs et graveurs'' [``Anonymous society of painters, sculptors and
engravers''], composed of <a href="http://www.ibiblio.org/wm/paint/auth/pissarro/"><span style="color: black;">Pissarro</span></a>, Monet, </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/sisley/"><span style="color: blue;">Sisley</span></a></span></b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;">, <b><a href="http://www.ibiblio.org/wm/paint/auth/degas/"><span style="color: blue;">Degas</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/renoir/"><span style="color: blue;">Renoir</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/cezanne/"><span style="color: blue;">Cézanne</span></a>, <a href="http://www.ibiblio.org/wm/paint/auth/guillaumin/"><span style="color: blue;">Guillaumin</span></a> </b></span><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">and</span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"> <a href="http://www.ibiblio.org/wm/paint/auth/morisot/"><span style="color: blue;">Berthe
Morisot</span></a>. <o:p></o:p></span></b></div>
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<br /></div>
<h2 style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The Founders<o:p></o:p></span></h2>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The founders of this society were animated by
the will to break with the official art. The official theory that the color
should be dropped pure on the canvas instead of getting mixed on the palette
will only be respected by a few of them and only for a couple of years. In fact,
the <cite>Impressionism</cite>
is a lot more a state of the mind than a technique; thus artists other than
painters have also been qualified of <cite>impressionists</cite>.
Many of these painters ignore the law of simultaneous contrast as established
by Chevreul in 1823. The expressions “independants'' or ``open air painters''
may be more appropriate than ``impressionists'' to qualify those artists
continuing a tradition inherited from </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/delacroix/"><span style="color: blue;">Eugène Delacroix</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, who thought that the drawing and colors were a whole,
and English landscape painters, </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/constable/"><span style="color: blue;">Constable</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, Bonington and especially </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/turner/"><span style="color: blue;">William Turner</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, whose first law was the observation of nature, as for
landscape painters working in Barbizon and in the Fontainebleau forest. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/boudin/"><span style="color: blue;">Eugène Boudin</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, Stanislas Lépine and the Dutch </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/jongkind/"><span style="color: blue;">Jongkind</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> were among the forerunners of the movement. In 1858,
Eugène Boudin met in Honfleur Claude Monet, aged about 15 years. He brought him
to the seashore, gave him colors and taught him how to observe the changing lights
on the Seine estuary. In those years, Boudin is still the minor painter of the <cite>Pardon de Sainte-Anne-la-Palud</cite>,
but is on the process of getting installed on the Normandy coast to paint the
beaches of Trouville and Le Havre. On the <cite>Côte
de Grâce</cite>, in the Saint-Siméon farm, he attracts many painters
including </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/courbet/"><span style="color: blue;">Courbet</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, Bazille, Monet, and Sisley. The last three will meet in
Paris in the free Gleyre studio, and in 1863 they will discover a porcelain
painter, Auguste Renoir. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">At the same time, other artists wanted to
bypass the limitations attached to the <cite>Ecole
des Beaux-Arts</cite> and were working <cite>quai des Orfèvres</cite> in the Swiss Academy;
the eldest, from the Danish West Indies, was Camille Pissarro; the other two
were Paul Cézanne and Armand Guillaumin.<o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<h2 style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Le “Salon des Refusés''<o:p></o:p></span></h2>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">These people were highly impressed by the
works of </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/manet/"><span style="color: blue;">Edouard
Manet</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">, and became outraged
when they learned that he was refused for the 1863 Salon. The indignation was
so high among the artistic population that Napoleon III allowed the opening of
a “Salon des Refusés'', where Manet, Pissarro, Jongkind, Cals, Chintreuil, <a href="http://www.ibiblio.org/wm/paint/auth/fantin-latour/"><span style="color: black;">Fantin-Latour</span></a>,
etc. showed their works. <cite>Le
Déjeuner sur l'herbe</cite> provoked a great enthusiasm among the young
painters, who saw represented in Manet's painting many of their concerns. They
started meeting around him in the café Guerbois, 9, avenue de Clichy, and thus
creating <cite>l'école des
Batignolles</cite>. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The 1866 Salon accepted the works of some of
them: Degas, Bazille, Berthe Morisot, Sisley; Monet exposed the portrait of <cite>Camille</cite>, Pissarro, <cite>les Bords de la Marne en hiver</cite>;
Manet, Cézanne, Renoir were refused, and Emile Zola wrote in <cite>l'Evenement</cite> a diatribe
which made him the official upholder of those newcomers bearing an more
revolutionary attitude in the conception than in the still traditional
painting. The main distinction lies in the attraction for color and the liking
of light; but Berthe Morisot remained faithful to Manet's teaching; Degas was
mixed between his admiration of </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/ingres/"><span style="color: blue;">Ingres</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> and the Italian </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/glo/renaissance/"><span style="color: blue;">Renaissance</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> painters; Cézanne attempted to “faire du Poussin sur
nature''; Claude Monet himself, in <cite>la
Terrasse au Havre</cite> and <cite>les
Femmes au jardin</cite> (1866, Louvre, salles du Jeu de Paume), is far
from announcing his future audacity. <o:p></o:p></span></div>
<h2 style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> </span></h2>
<h2 style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The 1870 war<o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The 1870 war split those beginners. Frédéric
Bazille was killed in Beaune-la-Rolande; Renoir was mobilized; Degas
volunteered; Cézanne retired in Provence; Pissarro, Monet and Sisley moved to
London, where they met Paul Durand-Ruel. This stay in London is a major step in
the evolution of Impressionism, both because these young artists met there
their first merchant, and because they discovered Turner's paintings, whose
light analysis will mark them. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Back in Paris, most of these painters went to
work in Argenteuil (Monet, Renoir), Chatou (Renoir), Marly (Sisley), or on the
banks of the river Oise (Pissarro, Guillaumin, Cézanne). Edouard Manet painted
the Seine with Claude Monet and, under his influence, adopted the open air
work. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<h2 style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">The opinion of the public<o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Durand-Ruel was unable to sell the works of
the future impressionists and had to cease buying in 1873; thus, next year,
they decided to expose in Nadar's (15 April-15 May 1874), where they displayed
the works that the Salon had refused. They invited with no success Manet, but
Lépine, Boudin, </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/bracquemond/"><span style="color: blue;">Bracquemond</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> the engraver, </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/astruc/"><span style="color: blue;">Astruc</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> the sculptor, and the painters Cals, de Nittis, Henri
Rouart, etc. joined them. Many artists became then conscious of the public and
critics incomprehension, but the solidarity didn't last long. Cézanne didn't
participate in the group second exhibit, galerie Durand-Ruel, rue Le Peletier,
in 1876, which hold 24 Degas and works from Berthe Morisot, Claude Monet,
Auguste Renoir, Pissarro, Sisley and Frédéric Bazille. They met some upholders,
such as Duranty, Armand Silvestre, Philippe Burty, Emile Blémond, Georges
Rivière, soon with Théodore Duret. The disappearance of Cézanne, Renoir,
Sisley, Berthe Morisot in the 1879 exhibit proved that the group was splitting
apart. Renoir preferred to send to the official Salon <cite>Mme Charpentier et ses enfants</cite>
and the <cite>Portrait of
Jeanne Samary</cite>; yet only few people admired his artworks and of
those of his friends, and the artists' life was uneasy, if not miserable. Degas
tried, with Pissarro, to maintain the unity of the group, but his attempt
failed since Monet, Sisley and Renoir were missing for the fifth exhibit, opened
in April 1880; however, artworks from </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/gauguin/"><span style="color: blue;">Gauguin</span></a></span></b><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;"> appeared there for the first time. In 1881, the some of
the Impressionists went back to Nadar's: Pissarro, Degas, Guillaumin, Berthe
Morisot. The ``seventh exhibition of independant artists'' was the become the
``Salon des indépendants'' two years later. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Only Monet and Sisley went always deeper into
the analysis of light changings and their effects on appearances. Degas, Renoir
and Cézanne headed towards opposite directions, whereas Pissarro was interested
by the researches of Paul Gauguin, </span><b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;"><a href="http://www.ibiblio.org/wm/paint/auth/seurat/"><span style="color: blue;">Georges
Seurat</span></a></span></b><span lang="EN" style="color: blue; font-family: Verdana, sans-serif; font-size: 10pt;">, <b><a href="http://www.ibiblio.org/wm/paint/auth/signac/"><span style="color: blue;">Paul
Signac</span></a></b></span><span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">. If, at this stage,
Impressionists were becoming appreciated, their situation was still harsh; the
Salon was still refusing their paintings, and in 1894, 25 out of 65 artworks
donated by Caillebotte to the Luxembourg museum were rejected. <o:p></o:p></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span lang="EN" style="font-family: Verdana, sans-serif; font-size: 10pt;">Yet, when Camille Pissarro, the Impressionist
patriarch, died in 1903, everybody agreed that this movement was the main XIXth
century artistic revolution, and that all its members were among the finest
painters. The influence of the Impressionists was great out of France, especially
in Germany, with Liebermann, Corinth, and in Belgium. <o:p></o:p></span></div>
<br />Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-29955794379150807012012-05-22T04:23:00.003-07:002012-10-13T11:18:45.850-07:00THE SPANISH CRAZE IN THE UNITED STATES<div class="separator" style="clear: both; text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small; text-align: start;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html" style="text-align: start;">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span></div>
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<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small; text-align: start;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b><br /></b></span>
<span style="font-family: Verdana, sans-serif;"><b>Cultural Entitlement and the Appropriation of Spain’s Cultural Patrimony</b>, ca. 1890-ca. 1930. </span><span style="font-family: Verdana, sans-serif;">Richard L. KAGAN, Johns Hopkins University , kagan@jhu.edu </span><br />
<span style="font-family: Verdana, sans-serif;">(Sent by Esperanza Gallut)</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><b>ABSTRACT </b></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">At the time of war of 1898, the image of Spain in the United States has been traditionally seen as one much influenced by the Black Legend. Notwithstanding the importance of this negative image of Spain, this article suggests that even in that critical historical period there existed another line of thinking that viewed Spain and its culture in a much more positive light. Focusing primarily on topics relating to architecture and art, it further underscores the extent to which Americans of that era sought to incorporate elements of that culture into their own. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Hispanomanía en Estados Unidos: pertenencia cultural y apropiación del patrimonio cultural de España, ca. 1890- ca. 1930 </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>RESUMEN</b> </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Tradicionalmente se ha visto la imagen de España en los Estados Unidos durante la guerra de 1898 como muy influida por la llamada ‘leyenda negra’. Pese a la importancia de esta imagen negativa de España, este artículo sugiere que incluso en aquel crítico período histórico existió otra corriente de pensamiento que veía a España y su cultura de una forma mucho más positiva. Analizando principalmente cuestiones relacionadas con la arquitectura y el arte, subraya además el interés con que los estadounidenses de la época buscaron incorporar elementos de aquella cultura en la de su propio país. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">SUMARIO: 1. Introduction. 2. American Appreciation of Spanish Architecture and Works of Art. 3. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Ethnic Stereotyping: “Authentic” Spaniards in Romantic, Agrarian, Picturesque Spain. 4. The War, U.S. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Imperialism, Cultural Entitlement, and the Export of Art. 5. Referencias bibliográficas. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>1. INTRODUCTION</b> </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">“But you know what Spaniards are –hospitality itself– and that grand air! By Jove! I don’t think any nation in Europe can approach it”2. Such was the opinion of William Merritt Chase, the New York artist whose sympathy for Spain, its people, and especially its art epitomizes what can be called the “Spanish Craze” in the United States. The term refers to a particular era in US history when seemingly everything Spanish -art, music, language, literature, architecture, and more- was in vogue. This particular “craze” began in the 1890s, and lasted, with few interruptions until the early 1930s, when it was brought to an abrupt end by a combination of factors associated with the Great Depression, the victory of General Francisco Franco and his Falange Party in Spain’s bloody civil war (1936-1939), and changing tastes and fashions in the United States. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This craze, I should add, was not exclusively Spanish in the peninsular sense of the term. Rather it intermingled with various elements of Mexican culture, in large measure because North Americans of that era tended to conflate Spanish and Mexican under the rubric Hispanic, or simply Spanish. Put simply, both Spaniards and Mexicans belonged to the same raza, albeit a raza defined more by “common culture, historical experiences, traditions and language than by blood or ethnic factors”</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Thus Zorro, played by Douglas Fairbanks Sr. in several Hollywood films of the early 1920s, was interchangeably Mexican and Spanish. Similarly, what is known as Spanish Revival architecture —a style popularized across the United States during the 1920s— was actually a blend of Spanish design elements with others, elaborately decorated doorways for example, that are more properly defined as Spanish Colonial, or Mexican. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Whatever one calls it, the discovery of Spanish art and culture in the United States began at a moment when relations between the two countries were marked by growing political tensions over Cuba that culminated in the short but decisive Spanish-American War of 18984. In the years leading up to this conflict, anti-Spanish rhetoric ran high in the United States, especially in the newspapers controlled by William R. Hearst (1863-1951). These papers, notably the New York Journal, drew upon the well-spring of anti-Spanish sentiment known as the Black Legend in order to headline the inhumanity, cruelty, backwardness, and other failings of the Spanish regime in Cuba along with those of the Spanish nation as a whole. Such criticism was also reflected in the 1898 publication of a new English edition of Bartolomé de las Casas, Brief Relation on the Destruction of the Indies, one of the texts that contributed decisively to the early development of the Black Legend. In a bold effort to cash in on the anti-Spanish fervor of the moment, this translation appeared under the sensationalist title of An Historical and True Account of the Cruel Massacre and Slaughter of 20,000,000 People in the West Indies by the Spaniards. Then there was the famous historian of the Spanish Inquisition, Henry Charles Lea, who, in a an article entitled “The Decadence of Spain”, attributed that country’s defeat by the United States to a defective national character distinguished by a “blind and impenetrable pride” and a “spirit of conservatism which rejected all innovation —especially modern industrialism– in a world of incessant change”</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">The juxtaposition between this kind of inflammatory criticism, and the pro-Spanish sentiments of William Merritt Chase is striking. Heretofore, most scholars who have addressed the question of U.S.-Spanish relations in and around the war of 1898 have emphasized the role played by the Black Legend in the configuration of Spain’s image in the United States. The importance of the Black Legend cannot be denied -witness the opinion of Henry Charles Lea quoted above-, but as Chase’s remark suggests, there existed another line of thinking that represented Spain in a much more positive light. The aim of this essay is to address this apparent contradiction together with the connection between the “Spanish Craze” and the war of 1898. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">2. AMERICAN APPRECIATION OF SPANISH ARCHITECTURE AND </span><span style="font-family: Verdana, sans-serif;">WORKS OF ART </span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">First the “Spanish Craze”. What were its dimensions and what forms did it take? Its beginnings are ill-defined, but a possible starting point is 1890, a year marked by the inauguration, in the heart of Manhattan, of a new Madison Square Garden, the second [of four] such amphitheaters known by that name. Designed by the famous New York architect, Stanford White (1853-1906), the most striking feature of the new Garden was not its main building -designed in Italian Renaissance style- but its soaring, three-hundred foot tower, then the second tallest in a city already famous for its skyscrapers. Most early sky scrapers, in New York and other North American cities, were built in neo-classical design and intended to emulate the glory and the power associated with the empires of ancient Greece and Rome. When it came to the Garden, however, White wanted something different, and to do this he modeled the amphitheater’s tower upon the Giralda in Seville. Built by the Almoravids in the twelfth century, the Giralda originally served as the minaret of that city’s great mosque. That mosque was demolished following Seville’s capture by Christians in 1248, but the Giralda, somewhat miraculously, survived, and was soon transformed into a bell tower attached to the sprawling Gothic cathedral erected on the site where the mosque once stood. In the sixteenth century the Giralda acquired a new spire topped by an angel, called the Giraldillo and was symbolically intended to demonstrate the triumph of Christianity over Islam. In his version of the Giralda, White, a notorious womanizer, replaced the angel with a large gilded statue of the naked Diana, the Roman goddess of the hunt. This Diana was a source of scandal, but otherwise White’s Giralda elicited nothing but praise. “So big and so beautiful”, one critic wrote. “Nothing else in NY has done so much to dignify, adorn, and enliven its neighborhood”6. And even though the original Giralda was arguably more “Moorish” than “Spanish”, critics were apt to refer to this striking new landmark as a building of Spanish baroque design. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Such a design, moreover, proved infectious inasmuch as White’s “Spanish” </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Giralda triggered a series of copycat structures in various cities across the United States. First in line was Chicago, where the Cold Storage Building erected at the World’s Columbian Exposition of 1893 was topped by a smokestack modeled after the tower in Seville7. Then, in San Francisco, the New York trained architect A. Page Brown added a striking Giralda-like tower to the city’s new ferry terminal that was completed in 18988. Next came Buffalo, NY, where another Giralda replica, festooned with thousands of electric lights, stood as the centerpiece of the Pan-American Exposition that was held there in 1901. Kansas City and Miami followed in the 1920s, and then Cleveland, where construction of yet another replica of the Giralda, in the guise of the soaring Terminal Tower, was completed in 1928. By this date, the United States boasted no fewer than fifteen replicas of Seville’s famous landmark 9. But the interest of American developers in buildings of Spanish design did not end with the Giralda. Starting around 1890 the city of St. Augustine, Florida, acquired a series of hotels, suitably named the Ponce de León, the Alcázar and the Córdoba, built in neo-mudéjar-cum-Spanish design. Similar structures soon followed. In 1926, for example, the budding resort town of St. Petersburg, Florida added to its growing array of luxury hotels one called the Royalat, the central part of which was modeled after Seville’s Torre de Oro. The Royalat, however, was only one </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">among many Florida hotels and houses built in the so-called “Spanish Revival” style of architecture. Dating from around 1912, this style first made its appearance in southern California where it represented the outgrowth of the earlier “Mission Style”, with its roots in the churches and other buildings built by Spanish friars in California and other parts of the American southwest. The first such buildings, simple and relatively unadorned, dated from the 1890s, but the Mission Style soon metamorphosed into a more elegant mixture of Spanish and Spanish colonial architecture in the hands of Bertram Grosvenor Goodhue, the New York architect primarily responsible for the Spanish-style buildings erected in San Diego in conjunction with the Panama-California Exposition of 191510. Within the course of the next decade different iterations of this new Spanish style found their way into domestic architecture across southern California. Notable examples include the so-called “Spanish farmhouse” architecture epitomized by the Casa de Herrero, in Montecito, CA, designed by George Washington Smith in 1924, a style soon to be popularized through such design manuals as Winsor Soule’s Spanish Farmhouses and Other Public Buildings (1924). Somewhat more elaborate was the complex of Spanish Renaissance buildings that Julia Morgan designed for William Randolph Hearst in San Simeon, CA. There the main house, named the Casa Grande, was modeled upon the collegiate church of Santa María in Ronda. Meanwhile, Addison Mizner brought Spanish Revival domestic architecture to Palm Beach, Boca Raton, Coral Gables and other cities in south Florida. This style, which blended elements drawn from both Designed by the Chicago architect Franklin P. Burnham, the Cold Storage Building was destroyed by fire on July 10, 1893, only a few months after it was built. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Spanish and Spanish colonial architecture, soon arrived in Maryland, New York, and other parts of the United States far removed from those regions of the country that were formerly under Spanish dominion. Growing interest in Spanish-themed architecture also sparked a growing demand for Spanish ironwork, tiles, and furnishings of various kinds, much of which was imported directly from both Spain and Mexico, or, whenever necessary, fabricated by domestic producers in accordance with the designs appearing in Andrew N. Prentice, Renaissance Ornament and Architecture in Spain (London, 1893; reprint, New York, c. 1925) and Arthur and Mildred Stapley Byne’s Spanish Ironwork (1915) and similar titles. </span></div>
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<span style="font-family: Verdana, sans-serif;">Architecture alone, however, was not enough to contain America’s growing enthusiasm for Spanish culture and art. In 1890, the same year in which Manhattan inaugurated its version of the Giralda, a Flamenco dancer known as La Carmencita became something of a celebrity in New York following her performance at a private party in the studio of the artist, William Merritt Chase. That Chase served as Carmencita’s New York sponsor was no accident. He was part of a generation of American artists who, starting in the 1860s, journeyed to Spain in search of themes defined as picturesque, the name given that genre of painting that had its roots in the Romantic movement of the early nineteenth century and which, as it developed, embraced crumbling ruins, peasants garbed in traditional dress, and in the case of Spain, gypsies, bullfighters, and the like. The Scottish painter David Roberts (17961864) created the U.S. market for the Spanish picturesque with his large portfolio volumes featuring views of the Alhambra, and scenes of bullfights set against the backdrop of the Giralda. Such were the images of Spain that U.S. artists, starting in the 1850s, would emulate. One of the first was the New York artist Samuel Colman, whose paintings of “sunny” Spain met with favorable critical reviews. </span></div>
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<span style="font-family: Verdana, sans-serif;">Soon, other more famous artists -Thomas Eakins, John Singer Sargent, and Mary Cassatt- followed in Colman’s tracks12. As for Chase, his initial visits to Spain in 1881 and 1882 led initially to a series of drawings and pictures featuring picturesque themes. But Chase also ook advantage of these visits to discover the work of Diego de Velázquez, an artist whose naturalistic style of painting he endeavored to emulate, especially in portraiture. Chase in fact was so smitten with Velázquez that he </span></div>
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<span style="font-family: Verdana, sans-serif;">announced that he was “the greatest painter that ever lived”13. Such was Chase’s interest in this artist that he occasionally clothed his daughter in dresses modeled upon the one the Infanta Margarita wore in Las Meninas14. Starting in the 1890s, moreover, Chase led groups of art students to Madrid’s Prado Museum so that they, too, could have the opportunity to, as he put it, “revel in Velázquez [...] not forgetting Greco, Goya, and a few more [Spanish artists]”, a list that included both Joaquín Sorolla and Ignacio Zuloaga, two contemporaries whose artistic talents he was the first North American to promote15. </span></div>
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<span style="font-family: Verdana, sans-serif;">It is easy to exaggerate Chase’s influence on America’s artistic tastes, but his enthusiasm for the glories of Spanish art proved infectious. It also helped to change collectors’ attitudes about the significance of Spanish art. For most of the nineteenth century most US critics agreed with James Jackson Jarves, whose opinion of the “Spanish school of art”, was decidedly low, as the following quote from his 1874 book, Art-Thoughts, readily attests: We need not look for the poetical or imaginative in Spanish art; seldom for very refined treatment, and never for any intellectual elevation above the actual life out of which it drew its restricted stock-motives. What could be expected of painting in a </span></div>
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<span style="font-family: Verdana, sans-serif;">country where masked inquisitors visited every studio and either destroyed and daubed over any details that did not accord with their fanatical scruples? There are admirable points in Spanish painting, but it is not a school of popular value or interest. Besides its two chief names [Velázquez and Murillo] it has no reputation beyond its own locality. The fixed purpose of its priest-ridden work was to stultify the human intellect and make life a burden instead of a blessing16. </span></div>
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<span style="font-family: Verdana, sans-serif;">Such remarks, inspired in large measure by the anti-Spanish prejudice inherent in the Black Legend, began to change in the 1890s, as Royal Cortissoz, Charles Caffin and other New-York based art critics, echoing the ideas of Chase, detected a similarity between the freedom of expression and naturalistic style of Velázquez and El Greco and that of Manet, Degas and the French Impressionists, that is, the artists whose work American collectors of that era were especially eager to acquire. </span></div>
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<span style="font-family: Verdana, sans-serif;">The rapid diffusion of ideas about the supposed “modernity” of Spanish Old Master art unleashed the artistic equivalent of the Alaska gold rush of 1897. Across the country wealthy collectors competed with one another in a seemingly no-holdsbarred contest to snap up choice examples of works then attributed to El Greco, Goya, Velázquez, etc. I have written elsewhere about the growing demand for Spanish Old Master art17, but the key players in this particular (and expensive) game included Isabella Stewart Gardner in Boston; Charles Deering in Chicago; John W. Johnson, P. A. B. Widener, and William Wilstach in Philadelphia; Charles Taft in Cincinnati; Henry and Louisine Havemeyer, Philip Lehman, Benjamin Altman, and Henry Clay Frick in New York; and William Van Horne, an American living in Toronto and one whose predilection for Spanish Old Masters merited an extensive article in the New York Times in 191518. </span></div>
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<span style="font-family: Verdana, sans-serif;">The Times’ decision to run an article on Van Horne’s Spanish pictures speaks directly to that city’s growing fascination with Spanish art. Just as the New York architect Stanford White helped to establish the fashion for Spanish-style building, the nation’s growing taste for the artistic and cultural patrimony of Spain contributed to efforts on the part of some collectors to ship whole buildings across the Atlantic. </span></div>
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<span style="font-family: Verdana, sans-serif;">In 1903, for example, William Randolph Hearst made headline news, in both Spain and the United States, when he attempted to purchase an entire Spanish patio of Renaissance design -that of the Casa de Miranda in Burgos-, dismantle it, and then have it shipped and re-assembled in New York. A popular outcry in Burgos prevented this particular sale, although in later years Hearst successfully managed to export to the United States all manner of Spanish artifacts, including two monastery cloisters and the elaborate choir screen from the cathedral of Valladolid which can now be seen on the main floor of New York’s Metropolitan Museum19. </span></div>
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<span style="font-family: Verdana, sans-serif;">Another New Yorker with similar interests was Archer Milton Huntington (18701955). </span></div>
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<span style="font-family: Verdana, sans-serif;">To be sure, Huntington’s collecting career was markedly different than </span></div>
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<span style="font-family: Verdana, sans-serif;">Hearst’s. The latter bought mainly for personal enjoyment; the former to enrich the collections of the Hispanic Society of America, an institution that he founded in 1904 in order to promote Hispanic culture in the United States. Huntington’s particular passion was Spanish literature, especially that of medieval and Renaissance. In 1897, for example, just turned twenty six, he translated and published the Poem of El Cid, and in the course of the following years financed the publication of facsimile editions of another forty important works of Spanish literature in the belief that they were relatively unknown and underappreciated in the United States. He also sponsored the teaching of Spanish in New York schools and supported the activities of the famed Instituto de las Españas that Federico de Onís established at Columbia University in 192020. </span></div>
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<span style="font-family: Verdana, sans-serif;">Huntington, however, is best known for the Hispanic Society of America, an institution dedicated to “the advancement of the study of the Spanish and Portuguese languages, literature, and history.” Originally conceived as a “Spanish museum”, Huntington envisioned an institution similar to that of London’s British Museum to the extent that it combined a library with selected works of art. But whereas the collections of the British Museum and its Library were universal in scope, the Hispanic Society, as its name suggests, was to be focused exclusively on the Iberian world, Spain in particular. Huntington’s institution also aimed at the preservation of Spain’s cultural patrimony and, in addition, making that patrimony known to an American audience. With these goals in mind, Huntington purchased (in 1902) one of Spain’s finest private libraries -that of the Marqués de Jérez de los Caballeros- and shipped it to New York, where it later became the nucleus of the Hispanic Society’s library. In addition to books and manuscripts, the Hispanic Society housed paintings, ceramics, sculpture and other objects d’art that Huntington and his agents purchased in Europe with an eye towards creating a collection meant to demonstrate what he once referred to as “the soul of Spain”. Opened to the public in 1908, the Hispanic Society attracted vast crowds to its Neo-</span></div>
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<span style="font-family: Verdana, sans-serif;">Classical building in uptown New York, and the crowds returned in the following years for exhibitions of paintings by Sorolla and Zuloaga, the first of Spain’s “modern” artists to acquire a large following in the United States. The success of these exhibitions led one New York art dealer to comment that “Spain sank low in our defeat of her, she has replied with the lightnings of art”. </span></div>
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<span style="font-family: Verdana, sans-serif;"><b>3. ETHNIC STEREOTYPING: NATURAL, “AUTHENTIC” SPANIARDS IN ROMANTIC, AGRARIAN, PICTURESQUE SPAIN</b> </span></div>
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<span style="font-family: Verdana, sans-serif;">The comment is apt, and directly relevant to the question posed at the outset of this essay: the relationship between the Spanish American War of 1898 and America’s enthusiastic embrace of a culture it previously held at arm’s length. A fully-documented answer to this query cannot be offered within the constraints of this article, but among the factors contributing to this development was the continuing pervasive influence of the famous New York author, Washington Irving (17831859). </span></div>
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<span style="font-family: Verdana, sans-serif;">Irving’s interest in Spain began with his decision to write a biography of the famous mariner Christopher Columbus, using books and manuscripts that were available only in Madrid and Seville. Irving embarked on this particular endeavor during the winter of 1825-1826, but within a few months he broadened his curiosity to include the whole of Spain’s complex history, especially that of al-Andalus. Irving’s Life and Voyages of Christopher Columbus appeared in 1828, and was quickly followed by such works as the The Chronicles of the Conquest of Granada (1829) and the collection of short stories entitled Tales of the Alhambra (1832), an often reprinted volume whose romantic vision of Spain was arguably instrumental in altering Spain’s image in the United States by portraying it as a sunny, picturesque country populated mainly by gypsies, toreros, colorful bandits, and other characters reminiscent of those found in Beaumarchais’s Barber of Seville. Irving was by no means the only writer who contributed to this image of sunny Spain -others included Alexander Slidell Mackenzie, Caroline Cushing and Henry Wadsworth Longfellow, along with Teóphile Gautier in France and Richard Ford in England-, but the overall result was a picture of a quasi-exotic yet accessible country, a mustsee for any American interested in experiencing the picturesque. </span></div>
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<span style="font-family: Verdana, sans-serif;">During Irving’s lifetime -he died in 1859- the number of Americans who visited Spain were relatively few. But what began as a trickle soon developed into a steady stream. Precise numbers are scarce, but the turning point appears to have been the 1870s, the decade that marked the opening of a direct rail link between Paris and Madrid, as well as the beginning of a prolonged period of relative political stability in Spain brought about by the restoration of the Bourbon monarchy in 1875. This </span></div>
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<span style="font-family: Verdana, sans-serif;">increase is partly reflected in the “Libros de Visitas” of the Prado Museum, a mecca for foreigners visiting Spain, many of whom identified themselves as tourists, a neologism that separated these travelers from those with commercial and political concerns. Increases in the number of Americans visiting the Prado and other Spanish attractions and places –the standard itinerary was Paris to Madrid, then south toward Toledo, Granada, Córdoba and Seville– also reflected the start of America’s fabled </span></div>
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<span style="font-family: Verdana, sans-serif;">Gilded Age, an era of dramatic economic growth in the United States and </span></div>
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<span style="font-family: Verdana, sans-serif;">one that increased the number of Americans with the wealth and the </span></div>
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<span style="font-family: Verdana, sans-serif;">inclination to visit Europe. It has been estimated that in 1880 about 50,000 Americans visited Europe each year. </span></div>
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<span style="font-family: Verdana, sans-serif;">By 1900 that number reached 125, 000 and by 1913 roughly 250,00026. It is difficult to know how many of these travelers included Spain on their itineraries, but interest in the country was clearly increasing. </span></div>
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<span style="font-family: Verdana, sans-serif;">Another attraction was the vision of Spain as a traditional, agrarian society </span></div>
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<span style="font-family: Verdana, sans-serif;">relatively untouched by industrialization and modernization, two forces that many cultivated Americans, especially those influenced by the medievalism associated with the famed British writer John Ruskin, looked upon with dismay. Ruskin’s disciples in the United States included Henry Adams (1838-1918) and Charles Eliot Norton (1827-1908), both of whom shared a romanticized view of the Middle Ages as a “vital, collective, and organic culture” that contrasted radically with the “anomic, dehumanized industrial world” which they themselves inhabited 27. Exponents of medievalism also regarded the art and architecture of the Middle Ages as authentic to the extent they were seen as genuine expressions of the human spirit as opposed to the artificial products of machines. In this context, Spain, with its reputation for backwardness, struck many </span></div>
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<span style="font-family: Verdana, sans-serif;">Americans to be authentic in ways that other European countries were not. The country, of course, was changing, but U.S. publishers could not get enough of books and articles that represented Spain as if it were a country caught in a time warp and where scenes reminiscent of the Middle Ages were still readily visible. The list of the publications offering this image of Spain is far too long to enumerate here, but fairly typical is the essay, “Street Life in Spain”, that appeared in Century Magazine in 1889 </span></div>
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<span style="font-family: Verdana, sans-serif;">accompanied by illustrations by William Merritt Chase. The author, Susan Carter, Director of Painting at New York’s Cooper Union, drew upon well-established racial tropes to describe what she viewed as the timeless, unchanging character of the “Spanish type”. “One is constantly amused and surprised”, she wrote, […] to see that habits and manners of the Spanish people, as well as their faces, are precisely the same to-day as when Velázquez painted his sharp wiry faces in the Buveurs or Murillo his dark children. </span></div>
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<span style="font-family: Verdana, sans-serif;">Similar ideas could be found in H. C. Chatfield-Taylor’s The Land of the </span></div>
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<span style="font-family: Verdana, sans-serif;">Castanet. Spanish Sketches (1896), a book that prompted one irate Spanish reviewer to comment that such a title was the equivalent of calling the United States “the land of bacon”. </span></div>
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<span style="font-family: Verdana, sans-serif;">The reviewer is correct, but The Land of the Castanet. Spanish Sketches and similar books both reflected and helped reinforce a cultural stereotype that ignored the nation’s emergent industries in the Basque Country and Catalonia, let alone the nascent anarchist movement that culminated in Barcelona’s Tragic Week in 1900. They focused instead on the country’s most picturesque elements -gypsy dancers, dashing matadors, peasants stretched for a siesta in the afternoon sun- while virtually ignoring the rest. Yet the stereotype had its uses, and at the very least served to generate interest in Spain just at a time when many Americans, together with Adams and Norton, believed that the forces of industrialization were rapidly undermining the simpler, agrarian values that they associated with the greatness of the United States. One such individual was the Harvard professor James Russell Lowell, who, in the course of a visit to Spain in 1878, wrote to a friend: “You can’t imagine how far I am away from the world here –I mean the modern world. Spain is as primitive in some ways as the books of Moses and as oriental”. As for the people, Lowell echoed Irving when he wrote that “they are still orientals to a degree one has to live among them to believe [...] they don’t care about the same things that we are fools to believe in [ such as business and accounting]”. This opinion led Lowell to conclude that hard-working Americans preferred the economic benefits associated with the “millpond,” while Spaniards preferred the peaceful pleasures derived from the “brook”. </span></div>
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<span style="font-family: Verdana, sans-serif;">Today’s readers are apt to take issue with the condescending tone of Lowell’s remarks, but it is important to recognize that Lowell, together with other Americans of his generation, were ready to put the Black Legend behind them and to look upon Spain in a more positive light. Of particular importance here was the emergence, starting again in the closing decades of the nineteenth century, of the idea of Spain as a country whose people had contributed enormously to the march of civilization in the New World. The seeds of this idea can be traced back to the famed Boston historian William Hickling Prescott (1796-1859), especially his best-selling History of the Conquest of Mexico (1843) which credited Spain with the overthrow of the semi-civilized Aztecs and advancing the cause of progress and Christianity in the Americas. </span></div>
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<span style="font-family: Verdana, sans-serif;">The next major historian to address this theme was Hubert Howe Bancroft, who, writing in 1888, eulogized life in Spanish California as nothing less than “a long, happy holiday”. Charles Lummis (1859-1928), the socalled “apostle of the South-West” expressed similar sentiments. A student of Norton’s at Harvard, in the 1880s Lummis </span></div>
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<span style="font-family: Verdana, sans-serif;">moved to California where he devoted himself to writing books and articles highlighting diverse aspects of the region’s history and culture. His most influential publication was The Spanish </span></div>
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<span style="font-family: Verdana, sans-serif;">Pioneers (1st edition, 1893), which argued that the culture and civilization of the United States owed as much to Spain’s conquistadors and missionaries who settled the Southwest as to the English men and women who settled the East, if not more. </span></div>
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<span style="font-family: Verdana, sans-serif;">Turning his back on the Black Legend, Lummis went so far as to characterize what he termed Spanish “pioneering” in the Americas as both “humane and progressive” in addition to “the most marvelous feat of manhood in all history”. </span></div>
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<span style="font-family: Verdana, sans-serif;">Spain and the memory of its past fared equally well in the novel Ramona, first published in 1884. The work of Helen Hunt Jackson, a staunch defender of indigenous rights, this novel, set in California at the start of the nineteenth century, represented the Spanish Mission in wholly utopian terms, a special “place of grace” where kindly friars taught natives the benefits of work, religion, civilization and the arts. A runaway best-seller from the very start, Ramona’s popularity helped spark efforts to refurbish California’s crumbling missions together with a campaign to restore the famed “camino real” that linked San Diego in the south with San Francisco in the north. Meanwhile, Ramona inspired the New York architect Stanford White in 1887 to design the Ramona Indian School for Santa Fe, New Mexico. In the end, the school was never built, but in an effort to bolster the town’s image, the city fathers incorporated festivities honoring Santa Fe’s Spanish heritage into the annual Fourth of July celebrations. Ramona’s influence was also in evidence in La Fiesta, an annual celebration inaugurated in Los Angeles in 1894 and designed to demonstrate that city’s Spanish origins, and fifteen years later in San Francisco’s La Portola, a celebration in honor of Gaspar de Portolà y Rovira (1761-1776), the Spanish army capitan credited with leading the first European overland expedition to sight that city’s famous bay in 176934. </span></div>
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<span style="font-family: Verdana, sans-serif;">Similar ideas emerged, not coincidentally, at the World’s Columbian Exposition celebrated in Chicago in 1893. Attended by hundreds of thousands of visitors, the fair aimed at demonstrating the wealth, power and importance of the United States. Yet it also represented North Americans as the direct heirs of Columbus and the valiant Spaniards who settled the New World. Monumental sculptures featured the famous mariner, a replica of the Franciscan Monastery at La Rábida placed numerous objects associated with Columbus and the court of the Catholic Monarchs on public display, and a special commemorative quarter bore a likeness of Queen Isabella. There was even a quarterly journal named in her honor that was designed to promote the interests of the women who attended the fair. </span></div>
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<span style="font-family: Verdana, sans-serif;">Spain came off equally well in Buffalo, New York, which, starting in the 1890s, laid plans for a Pan American Exposition designed to “celebrate the supremacy of the United States in the Western hemisphere” as well as to promote the essential unity of the Western hemisphere. “This to be an American Exposition–North, South and Middle” as one of its organizers wrote. When it came, however, to the fair’s architecture, the organizers adopted what was essentially a nativist stand when they decided upon a Spanish theme in the belief that this particular style best embodied the idea of “America”. The war of 1898 postponed the opening of this exposition until 1901, but the anti-Spanish rhetoric occasioned by this conflict did nothing to alter this architectural scheme which, as noted earlier, centered a brightly-illuminated replica of the Giralda. As for the fair’s Spanish Renaissance design, one commentator lauded that particular style in the belief that “it symbolizes our welcome to the genius of the Latins to mingle their strains with the genius of the Anglo-Saxons”. </span></div>
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<span style="font-family: Verdana, sans-serif;">One can readily object to the racist terminology this commentator employed, but the observation is important to the extent that it suggests that the war of 1898 did little to arrest the momentum of the Spanish craze. The fair’s architecture is also important to the extent that it represents a relatively early expression of Hispanidad, one that was soon to be reiterated at the Panama-Pacific International Exposition held in San Francisco in 1915, along with San Diego’s Panama-California Exposition, whose Spanish-themed buildings can still be seen in that city’s Balboa Park. </span></div>
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<span style="font-family: Verdana, sans-serif;"><b>4. THE WAR, U.S. IMPERIALISM, CULTURAL ENTITLEMENT, AND THE EXPORT OF ART </b></span></div>
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<span style="font-family: Verdana, sans-serif;">As for the relationship between the war of 1898 and the nearly contemporaneous “Spanish Craze” in the United States, what seems certain is that the conflict did little to dampen American enthusiasm for Spanish art and culture. In fact, the structural causes and consequences of this war actually appear to have contributed to the strength and momentum of the “craze”, partly because it served to focus new attention </span></div>
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<span style="font-family: Verdana, sans-serif;">on Spain and its historic relation to the United States. The partisans of that “splendid little war”, in the oft-cited words of the then U.S. Secretary of State (and former U.S. ambassador to Spain) John Hay, interpreted their country’s victory in various ways. Some regarded it as a victory for democracy over monarchy. Others saw it as a victory for Christianity, defined in wholly Protestant terms over Catholicism, as well as a powerful demonstration of the superiority of the Anglo-Saxon race, as embodied in the United States, over that of the Latins, as symbolized by Spain. Not all Americans agreed with this view, and the voices of the so-called anti-expansionists -they included Charles Eliot Norton- echoed through Congress prior to the vote ratifying the Treaty of Paris, the accord that officially ended the conflict and obliged Spain to cede its overseas colonies to the United States. This vote, however, was wholly in keeping with President William McKinley’s notion that America’s triumph in the war with Spain represented nothing less than “a victory for God and civilization”. </span></div>
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<span style="font-family: Verdana, sans-serif;">Such ideas were consistent with ideas about America’s “Manifest Destiny”, or the belief that the country was obliged to continue its territorial expansion and, in doing so, bring the benefits of what it understood as civilization to other parts of the world. As is well known, Manifest Destiny harbored within it the concept of AngloSaxon/Anglo-American cultural and racial superiority. Manifest Destiny also incorporated notions of cultural entitlement, or the idea that the United States, as it expanded its frontiers, both economic and geographic, had the right, possibly even the obligation, to enrich its own culture and traditions with that of other nations with which it came into contact. Such ideas can be found in the writings of Henry James (1843-1916), an author whose work is synonymous with the Gilded Age. A New Yorker who lived much of his life in Europe, James wrestled with the idea of what it meant to be an American, a topic he addressed in both in his private correspondence </span></div>
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<span style="font-family: Verdana, sans-serif;">as well as his novels. As early as 1867, for example, he wrote: I think to be an American is an excellent preparation for culture [...] we can deal </span></div>
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<span style="font-family: Verdana, sans-serif;">freely with forms of civilisation not our own; we can pick and choose and assimilate and in short (aesthetically etc.) claim our property wherever we find it. </span></div>
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<span style="font-family: Verdana, sans-serif;">James subsequently developed this theme in his first major novel, Roderick Hudson (1875) where he espoused the idea that collecting, whatever its aesthetic pleasures, was not only socially useful but also patriotic; something, in other words, in which every red-blooded American with the means to do so should engage. James’s novel centers on the character of Roland Mallet, who, as James describes him, “was extremely fond of all the arts and had an almost passionate enjoyment of pictures”. As a good citizen, Mallet believed he should go abroad and secretly purchase valuable specimens of European art then present them to an American city. To be sure, not all collectors were so altruistic, but in creating Mallet as the central character of his novel, James heled popularize the idea -call it “art for the nation”- that collecting, more An American antiquarian based in Madrid, than an individual caprice, was also a Byne, together with his wife, Mildred Stapley, patriotic act to the extent that it specialized in the he export of Spanish art served to enrich the artistic and cul-objects to wealthy collectors based in the United States. He died in an automobile accitural patrimony of America as a dent on the outskirts of Madrid.</span></div>
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<span style="font-family: Verdana, sans-serif;">From this perspective, the victory of the United States in the war of 1898, more than a simple affirmation of American power, also represented a golden opportunity -one that invited Americans to appropriate the patrimony of a country whose art and whose architecture they were just learning to appreciate. In the wake of defeat, Spain appeared to be weak and impoverished, and from the perspective of avid collectors such as Hearst, hardly in a position to preserve, let alone appreciate, its many artistic and architectural treasures. Better that such treasures be entrusted to his care. </span></div>
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<span style="font-family: Verdana, sans-serif;">Even, Huntington, the self-proclaimed champion of Spain in the United States, was seemingly of the opinion that Americans interested in Europe, rather than reside there, should “go there and get their culture if possible”. Huntington’s use of the verb “get” in this context is somewhat vague, but one of the aims of the collection he assembled at the Hispanic Society was to preserve Spain’s artistic heritage and also provide a continuous record of Spanish achievement before the country succumbed </span></div>
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<span style="font-family: Verdana, sans-serif;">to the destructive forces associated with the modern industrial world. In this sense, the Society was Huntington’s personal refuge, and his collecting in line with other US collectors who believed that it was their patriotic obligation to acquire -rescue might be another word- Europe’s art objects, restore and display them, and in doing so, enrich their country and culture as a whole. For this reason, just as the United States was discussing the terms of the Treaty of Paris with Spain, articles in the New York Times suggested that the government, in lieu of territorial concessions, ought to have contents of the Prado Museum shipped to New York. </span></div>
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<span style="font-family: Verdana, sans-serif;">In the end the final treaty contained no such provision, but the suggestion itself was wholly in line with contemporary ideas about cultural entitlement together with the notion that the United States could better preserve Spain’s cultural patrimony than Spain itself. Hearst summarized this line of thinking when he defined Spain as a “tired, worn out monarchy” and a waiting to be “ravaged” by individuals such as himself43. It is also worth noting that the New York Times adopted a similar position in 1910 when it reported on Hearst’s frustrated attempt to export the patio of the Casa </span></div>
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<span style="font-family: Verdana, sans-serif;">de Miranda to the United States. Striking a decidedly nationalist note, the newspaper reported that: </span></div>
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<span style="font-family: Verdana, sans-serif;">It is good for the people of Burgos to be alive to the worth of its treasures [...] foreign folk [that is, Spaniards] ought to be grateful to the American collectors [...] for stirring up their pride44. </span></div>
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<span style="font-family: Verdana, sans-serif;">In the end, such ideas were consistent with those of other Americans with interests in Spanish art, and it certainly coincided with those of the art and antiques dealers who specialized in the export of Spain’s treasures abroad. Notable in this regard was Arthur Byne (1884-1935), an American architect who initially traveled to Spain in 1910 under the auspices of the Hispanic Society in order to photograph and catalogue its medieval monuments. Byne soon emerged as one of the leading experts in </span></div>
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<span style="font-family: Verdana, sans-serif;">this particular field, and his expertise was even recognized by the Spanish government, which honored him with the title of Knight Grand Cross in the Order of Alfonso XII in 1927. At the same time, Byne capitalized on his expertise to become an important antiques dealer, exporting all manner of objects -furniture, ironwork, choir stalls, inlaid wooden ceilings, and more- to numerous clients in the United States. Such in fact was Byne’s interest in and passion for this particular enterprise that, in a 1934 letter addressed to Julia Morgan, he admitted that “My only role in life is taking down old works of art, conserving them to the best of my ability and </span></div>
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<span style="font-family: Verdana, sans-serif;">shipping them to America”45. An isolated statement, perhaps, but one that also underlies much of the “Spanish Craze”, especially in the years following the victory of the United States in the war of 1898. </span></div>
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<span style="font-family: Verdana, sans-serif;"><b>5. REFERENCIAS BIBLIOGRÁFICAS </b></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">ARNOLD, Charles Dudley 1901 The Pan-American Exposition. Illustrated. Buffalo (NY). </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">BANCROFT, Hubert Howe 1893 The Book of the Fair. Chicago - San Francisco. The Bancroft Company. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">BOKOVOY, Matthew F. 2005 The San Diego World’s Fairs and Southwestern Memory 1880-1940. Albuquerque. University of New Mexico Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">BOKOVOY, Matthew F. - STARR, Kevin 1973 Americans and the California Dream. New York. Oxford University Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">BOONE, Mary Elizabeth </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2007 Vistas de España: American Views of the Art and Life in Spain, 1860-1914. New Haven - London. Yale University Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">CARTER, Susan 1889 “Street Life in Spain”. Century Magazine. New York. nº 39 (Nov.), pp. 32-41. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">CODDING, Mitchell 2002 </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">“Archer Milton Huntington. Champion of Spain in the United States”. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">In KAGAN, Richard (ed.). Spain in America. The Origins of Hispanism </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">in the United States. Champagne-Urbana (ILL). University of Illinois </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Press. pp. 142-170. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">DEVERELL, William 2004 White-Washed Adobe: The Rise of Los Angeles and the Remaking of its Mexican Past. Berkeley - Los Angeles. University of California Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">ELIZADE, María Dolores 2005 </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">“Las relaciones entre España y los Estados Unidos en el umbral de un </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">nuevo siglo”. En DELGADO, Lorenzo - ELIZADE, María Dolores (eds.). </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">España y los Estados Unidos en el siglo XX. Madrid. CSIC, pp. 19-56. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">ELORZA, Antonio - HERNÁNDEZ SANDOICA, Elena </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">1998 La Guerra de Cuba (1895-1898). Historia política de una derrota colonial. Madrid. Alianza. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">EGEA FERNÁNDEZ-MONTESINOS, Alberto (coord.) </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2009 Viajeras anglosajonas por España. Una antología. Sevilla. Centro de </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Estudios Andaluces. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">FLEMING, Herbert E. 1906 “The Literary Interests of Chicago”. American Journal of Sociology. Chicago. nº 11, pp. 499-531. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">FREEDMAN, Paul - LEARS, T. Jackson </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">1981 No Place of Grace. Anti-modernism and the Transformation of </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">American Culture, 1880-1920. New York. Pantheon Books. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">FREEDMAN, Paul - SPIEGEL, Gabrielle M. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">1998 </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">“Medievalisms Old and New: The Rediscovery of Alterity in North </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">American Medieval Studies”. American Historical Review. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Washington. nº 103: 3, pp. 677-701. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">GAMIR SANDOVAL, Alfonso 1954 Los viajeros ingleses y norteamericanos en la Granada del siglo XIX. Granada. Universidad de Granada. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">GARCÍA-MONTÓN, Maria Isabel - GARCÍA-ROMERAL, Carlos </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2000 “Viajeros americanos en Andalucía durante los siglos XIX y XX”. Revista </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Complutense de Historia de América. Madrid. nº 26, pp. 261-280. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">GIFRA-ADROHER, Pere </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2000 Between History and Romance: Travel Writing on Spain in the Early </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Nineteenth Century. Madison (NJ). Fairleigh Dickinson University Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">GLASSBERG, David 2001 The Place of the Past in American Life. Amherst (MA). University of Massachusetts Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">GRISWALD VAN RENNSELAER, Marianna 1984 “Madison Square Garden”. Century Magazine. New York. nº 47: 5, pp. 732-747. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">HARRIS, Neil 1984 Cultural Excursions. Marking Appetites and Cultural Tastes in Modern America . Berkeley - Los Angeles. University of California Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">HOGANSON, Kristin L. 2007 Consumers’ Imperium. The Global Production of American Domesticity 1865-1920. Chapel Hill. University of North Carolina Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">HOLMES BOUTELLE, Sara 1988 Julia Morgan Architect. New York. Abbeville. JAKSIC, Iván 2007 The Hispanic World and American Intellectual Life, 1820-1880. London. Palgrave Macmillan. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">JAMES, Henry </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">1875 Roderick Hudson. New York. J.S. Osgood. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">JARVES, James Jackson 1871 Art Thoughts. The Experiences and Observations of an AmericanAmateur in Europe. New York. Hurd and Houghton. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">KAGAN, Richard L. 2002 Spain in America. The Origins of Hispanism in the United States. Champagne-Urbana (ILL). University of Illinois Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2007 “Yankees in the Prado: A Historiographical Overview”. Boletín del </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Museo del Prado. Madrid. vol. XXV. nº43, pp. 32-45. (en prensa) </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">“The Spanish Turn: The Discovery of Spanish Art in the United States, </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">1887-1920”. In QUODBOCH, Esmee (ed). Collecting Spanish Art in the </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">United States. College Park. PA. Pennsylvania State University Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">KROPP, Phoebe S. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2006 California Vieja. Culture and Memory in a Modern American Place. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Berkeley - Los Angeles. University of California Press </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">LEVKOFF, Mary L. 2008 Hearst the Collector. New York. Abrams. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">LONGSTRETH, Richard W. 1983 On the Edge of the World. Cambridge (MA). MIT Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">LOVATO, Andrew Leo 2006 Santa Fe Hispanic Culture. Preserving Identity in a Tourist Town. Albuquerque. University of New Mexico Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">LUMMIS, Charles 1912 The Spanish Pioneers. Chicago. McClurg. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">MARTÍNEZ RUIZ, María José 2008 La enajenación del patrimonio en Castilla y León (1900-1936). Valladolid. Junta de Castilla y León </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">2009 “La diplomacia española y estadounidense y su relación con el comercio de antigüedades en la primera mitad del siglo XX”. Goya. Madrid. nº 329, pp. 328-351. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">MCKINLEY, William 1900 Speeches and Addresses of William McKinley. New York. Doubleday & McClure. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">MERINO DE CÁCERES, José Miguel 1985 “En el cincuentenario de la muerte de Arthur Byne”. Academia. Madrid.nº 61, pp. 147-174 </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">NIETO-PHILIPS, John M. 2008 The Language of Blood: The Making of Spanish-American Identity in New Mexico. Albuquerque. University of New Mexico Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">NORTON, Charles Eliot (ed) 1893 Letters of James Russell Lowell. New York. Harper & Bros. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">OFFNER, John L. 1992 An Unwanted War: The Diplomacy of the United States and Spain over Cuba, 1895–1898. Chapel Hill. University of North Carolina Press. 1997 “La política norteamericana y la guerra de hispano-cubana”. En FUSI, </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Juan – NIÑO, Antonio (eds.). Vísperas del 98: Orígenes y antecedentes </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">de la crisis del 98. Madrid. Biblioteca Nueva, pp. 195-204. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">PAYNE, Stanley 2010 “The Reencounter between Spain and the United States after 1898”. En SUÁREZ-ZULOAGA, Ignacio (ed.). When Spain Fascinated America. Madrid. Fundación Zuloaga, pp. 11-25 </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">PISANO, Donald G. 1983 A Leading Spirit in American Art: William Merritt Chase, 1849-1916. Seattle. Henry Art Gallery. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">ROBERTS, David 1837 Picturesque sketches in Spain taken during the years 1832 and 1833. London. Hodgson and Graves. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">ROOF, Katherine Metcalf 1917 Life and Art of William Merritt Chase. New York. Charles Scribners and Sons. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">SÁNCHEZ MANTERO, Rafael 1994 “La imagen de España en los Estados Unidos”. En SÁNCHEZ MANTERO, </span></div>
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<span style="font-family: Verdana, sans-serif;">Rafael - MACARRO VERO, José Manuel - ÁLVAREZ REY, Leandro (eds.). </span></div>
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<span style="font-family: Verdana, sans-serif;">La imagen de España en América, 1898-1931. Sevilla. Escuela de </span></div>
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<span style="font-family: Verdana, sans-serif;">Estudios Hispano-Americanos, pp. 38-39. 2001 </span></div>
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<span style="font-family: Verdana, sans-serif;">“Viajeros y diplomáticos en el reinado de Fernando VII. El descubrimiento </span></div>
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<span style="font-family: Verdana, sans-serif;">de España por los americanos”. Ayer. Revista de Historia Contemporánea. Madrid. nº 41, pp. 141-160. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">SCHMIDT-NOWARA, Christopher 2006 The Conquest of History. Spanish Colonialism and National Histories in the Nineteenth Century. Pittsburgh. University of Pittsburgh Press. 2008 “Spanish Origins of the American Empire: Hispanism, History, and Commemoration, 1898-1915” International History Review. Burnaby. nº 30, pp. 32-51. 2010 “A New Imperial Past: The Spanish Empire in the United States after </span></div>
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<span style="font-family: Verdana, sans-serif;">1898”. Comunicación presentada al congreso: “Eclipse of Empires: </span></div>
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<span style="font-family: Verdana, sans-serif;">Colonial Resistance, Metropolitan Decline, and Imperial Crises in the </span></div>
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<span style="font-family: Verdana, sans-serif;">XIX and XX Centuries”, Universitat Pompeu Fabra, Barcelona, June 24, </span></div>
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<span style="font-family: Verdana, sans-serif;">2010. Versión digital: www.upf.edu/iuhjvv/pdf/schmidtnowara_barcelona_</span></div>
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<span style="font-family: Verdana, sans-serif;">2010_paper.pdf </span></div>
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<span style="font-family: Verdana, sans-serif;">WALKER, Pierre A. – ZACHARIAS, Greg W. 2006 The Complete Letters of Henry James. Lincoln. University of Nebraska Press. </span></div>
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<span style="font-family: Verdana, sans-serif;">WEBER, David J. 1992 The Spanish Frontier in North America. New Haven. Yale University Press. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">WEINBERG, H. Barbara 2003 “William Merritt Chase and the American Taste for Painting”. Magazine Antiques. New York. nº 163: 4, pp. 92-101. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">WILSON, Chris 1997 The Myth of Santa Fe. Creating a Modern Regional Tradition. Albuquerque. University of New Mexico Press. </span></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-13895182815529031732012-05-21T01:54:00.001-07:002014-04-22T10:31:11.015-07:00SOUNDS IN ENGLISH: (video)<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
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<b><span lang="EN-US" style="color: #c0504d; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Sounds in English</span></b></div>
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<span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Vowels<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Semivowels<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">&<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Consonants*<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif; line-height: 31px;">Most Frequent Mistakes Made by Spanish Speaking Students</span></b></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif;">Introduction<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif;">This is an attempt at enumerating some of the most recurrent pronunciation mistakes made by Spanish speaking students of English which my experience as a teacher has allowed me to detect and compile.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif;">In the face of such frequent and varied faulty productions of certain English sounds, I decided to look into their possible causes. A comparative analysis of both English and Spanish phonological systems became a necessity for me since it would help me to explain their differences.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif;">The sound systems of a learner´s language as well as his speech habits constitute a constant source of interference when he is trying to master another language. Their difficulty lies in the fact that the phonetic system of their mother tongue does not coincide with that of their target language. Moreover, Spanish is a language where the orthographic system and the phonological system are constantly related with one symbol or group of symbols always representing one sound of phonemic distinction. English, on the other hand, is characterized by the confusing illogicality of its spelling system.<o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;"> </span></b><b><span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Vowel Sounds in English</span></b></div>
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<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɑ:/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">father<o:p></o:p></span></div>
</td><td colspan="4" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 56.1pt;" width="75"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /'fɑ:ðə/<o:p></o:p></span></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 291.55pt;" width="389"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">car </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/kɑ:/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> <o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/æ/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">fat<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /fæt/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> rat </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ræt/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> bat </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/bæt/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ʌ/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">cup<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /kʌp/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> but </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/bʌt/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/e/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">met<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /met/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> leg /leg/<o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ə/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">Abet/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 53.1pt;" width="71"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /ə'bet/<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 294.55pt;" width="393"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> standard </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/stændəd/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɜ:/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">fur<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /fɜ:r/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> stir </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/stɜ:/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɪ/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">bit<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /bɪt/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> sit </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/sɪt/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/i;/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">beat<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /bi:t/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> seat </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/si:t/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɔ:/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">paw<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /pɔ:/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> saw </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/sɔ:/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/u:/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">boot<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /bu:t/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> food </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/fu:d/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ʊ/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">book<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /bʊk/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> good </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/gʊd/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/aI/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">fine<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /faɪn/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> time </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/taɪm/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/aʊ/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">now<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /naʊ/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> cow </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/kaʊ/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/eɪ/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">fate<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /feɪt/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> eight </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/eɪt/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/əʊ/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">goat<o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /gəʊt/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> go </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/gəʊ/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 17.35pt;"><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɔɪ/<o:p></o:p></span></b></div>
</td><td style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">boil<o:p></o:p></span></div>
</td><td colspan="2" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /bɔɪl/<o:p></o:p></span></div>
</td><td colspan="3" style="height: 17.35pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> toy </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/tɔɪ/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
<tr style="height: 18.05pt;"><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/uə/<o:p></o:p></span></b></div>
</td><td style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">tour <o:p></o:p></span></div>
</td><td colspan="2" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 50.1pt;" width="67"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /</span><span class="apple-style-span"><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">tʊə/</span></span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td><td colspan="3" style="height: 18.05pt; padding: 0cm 0cm 0cm 3.75pt; width: 297.55pt;" width="397"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> poor </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/</span><span class="apple-style-span"><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">pʊə</span></span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
</td></tr>
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<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɒ/<o:p></o:p></span></b></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">dog<o:p></o:p></span></div>
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<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /dɒg/<o:p></o:p></span></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> pot </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/pɒt/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/eə/<o:p></o:p></span></b></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">fair<o:p></o:p></span></div>
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<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /feə/<o:p></o:p></span></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> care </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/keə/</span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/ɪə/<o:p></o:p></span></b></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">near<o:p></o:p></span></div>
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<span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> /nɪə/<o:p></o:p></span></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> clear </span><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/</span><span class="apple-style-span"><span style="color: #0070c0; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">klɪə/</span></span><span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="color: #f2f2f2; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">/tʊə(r)/<o:p></o:p></span></div>
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<span style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;"> <o:p></o:p></span></div>
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<b><span style="font-family: Verdana, sans-serif; line-height: 27px;"> </span></b><b><span lang="EN-US" style="font-family: Verdana, sans-serif; line-height: 27px;">Now let´s analyze the following passage </span></b></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif; line-height: 21px;">(From “Lamb to the Slaughter“, a film by Hitchcock)<span style="font-size: medium;"><o:p></o:p></span></span></div>
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<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">He gave me this ticket for blocking an aisle during the rush hour. I don't understand. I was in the slow lane. I'd just stopped a moment at the condiment shelf where the store's having a sale on Low Calorie Calories.<o:p></o:p></span></b></div>
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<b><span style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Semi-Vowels<o:p></o:p></span></b></div>
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<b><span style="font-family: 'Monotype Corsiva'; font-size: 22pt; line-height: 33px;"> </span></b><b><span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 22pt; line-height: 33px;">[W]</span></b></div>
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<b><span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 22pt; line-height: 33px;"> </span></b><b><span lang="EN-US" style="font-family: 'Monotype Corsiva'; font-size: 22pt; line-height: 33px;">why-<span style="color: green;">wai </span> / wild- <span style="color: green;">waild</span> / west-<span style="color: green;">west</span> /sweet-<span style="color: green;">swi:t </span> / white- <span style="color: green;">wait </span> / wine-<span style="color: green;">wain</span> </span></b><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 10pt; line-height: 14px;"> </span></b><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Monotype Corsiva'; font-size: 22pt; line-height: 33px;"> <b><span style="color: #006600;">[ J ]</span> </b></span></div>
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<span lang="EN-US" style="font-family: 'Monotype Corsiva'; font-size: 22pt; line-height: 33px;"><b> yes - <span style="color: green;">jes </span> / new - <span style="color: green;">nju:</span> /stupid - <span style="color: green;">stju:pid </span> / beautiful - <span style="color: green;">bju:tifl </span> / cube- <span style="color: green;">kju:b</span></b></span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #006600; font-family: 'Monotype Corsiva'; font-size: 24pt; line-height: 36px;">Consonants<o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif;">The consonant systems of Spanish and English are very much alike. We may therefore assume that English consonants should not be a source of difficulty.<o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif;">We shall only go, then, over those consonants which do offer some difficulties. The few lines we analized in “Lamb to the Slaughter” when we studied vowel sounds will be of great help as we will now combine both categories focussing not only on sounds but also on stress.<o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">Lamb to the Slaughter<o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">He gave me <u>th</u>is [</span></b><span class="ph"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">ð</span></u></b></span><b><span lang="EN-GB" style="color: #1f497d; font-family: Verdana, sans-serif; font-size: 12pt;">is</span></b><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">]</span></b><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;"> <u>t</u>icket [</span></b><span class="ph"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">t</span></u></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">ick</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">it] </span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">for [<span style="color: #1f497d;">f</span></span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #1f497d; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] block<u>ing</u> [blok</span></b><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ɪ</span></u></b></span><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">ŋ</span></u></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] an <u>aisle</u> [<span style="color: #1f497d;">ail</span>] <u>during</u> </span></b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">[</span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ˈ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">dj</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">ər</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ɪ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">ŋ</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] the ru<u>sh</u> </span></b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">[</span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">r</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʌ<u>ʃ</u></span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">]</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;"> hour. I [<span style="color: #1f497d;">ai</span>] don't understand. I was [w</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">z] in <u>th</u>e [</span></b><span class="ph"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">ð</span></u></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə]</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><b><u><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">slow</span></u></b><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;"> [</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">slə</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] lane. I'd <u>j</u>ust [</span></b><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">d</span></u></b></span><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʒ</span></u></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʌ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">st</span></b></span><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">] </span></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">stopped [<span style="color: #1f497d;">stopt</span>] a moment at the [</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">ð</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə]</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;"> condiment <u>sh</u>elf [</span></b><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʃ</span></u></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">elf]</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><b><u><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">where</span></u></b><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;"> [</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">weə(r)</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] the store's hav<u>ing</u> [h</span></b><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">æv<b><u>iŋ</u></b></span></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] a sale on Low [l</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">] Calorie [</span></b><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ˈ</span></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">kæləri] </span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;">Calor<u>ies</u> [</span></b><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ˈ</span></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt;">kæləriz].</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt;"><o:p></o:p></span></b></div>
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<span class="ph"><b><span lang="EN-GB" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;"> </span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[ð] </span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">(this, that, these..)</span></span><span lang="EN-US" style="font-size: 14pt; line-height: 21px;"><o:p></o:p></span></div>
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<b><span lang="EN-GB" style="color: #215868; font-family: Verdana, sans-serif;">TH</span></b><span lang="EN-GB" style="color: red; font-family: Verdana, sans-serif;">IS</span><span lang="EN-GB" style="font-family: Verdana, sans-serif;"> </span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[ð] </span></b></span><span lang="EN-GB" style="font-family: Verdana, sans-serif;">is the first consonant sound we come across that offers some difficulties. It exists in both, Spanish and English. When we say DE<b><u><span style="color: #7030a0;">D</span></u></b>O in Spanish the second <b>D</b> sounds as <b><span style="color: #31849b;">TH</span></b> in <b><span style="color: #31849b;">TH</span></b>is. The first <b><span style="color: #00b050;">D</span></b> in <b><span style="color: #00b050;">D</span></b>EDO is a plosive; the second <b><u><span style="color: #7030a0;">D</span></u></b> is a fricative. Thus, we say DE</span><span class="apple-converted-space"><span lang="EN-US" style="background-color: #f0f0f8; font-size: 9pt; line-height: 13px;"> </span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif;">ð</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif;">O /</span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif;">ð</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; color: #7030a0; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">is</span></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; color: #7030a0; font-family: Verdana, sans-serif;">, </span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif;">ð</span></b></span><span class="Ttulo2Car"><span lang="EN-US" style="background-color: #f0f0f8; font-size: 9pt; line-height: 13px;"> </span></span><span class="esipa"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">ɪ</span></span><span class="esipa"><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">:</span></span><span class="esipa"><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">z, </span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif;">ð</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">æt/<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[ŋ] </span></b></span><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">Nasal velar sound </span></span><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">(It occurs before /k/ and /g/)</span></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Block<u>ing</u> [blok</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">ɪŋ</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">] </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">…in</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: red; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">g</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">: </span></b></span><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">ɪ</span></u></b></span><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">ŋ</span></u></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"> <o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">hav<u>ing</u> [h</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">æv</span></b></span><span class="apple-style-span"><b><u><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">ɪŋ</span></u></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">]</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Ink /</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">i</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">ŋ</span></b></span><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; color: red; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">k</span></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #1f497d; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">/</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #1f497d; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[n] </span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">Nasal alveolar</span></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 14pt; line-height: 21px;"> sound<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="ph"><b><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Tin:</span></b></span><span class="ph"><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"> <b>/ti</b></span></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #1f497d; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">n/<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Sin:</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #1f497d; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"> </span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">/sin/</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #1f497d; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="apple-style-span"><b><span style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">/ʃ/</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #1f497d; font-family: Verdana, sans-serif; font-size: 14pt; line-height: 21px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Rush</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #1f497d; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"> /</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">rʌʃ/<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Push /</span></b></span><span class="apple-style-span"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">pu</span></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">ʃ/<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">She /ʃi:/<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[</span></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">dʒ</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">] <o:p></o:p></span></span></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Just /</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">d</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">ʒʌ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">st</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">/<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">John /</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">d</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">ʒ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">on/</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span class="ph"><span lang="EN-US" style="background-color: silver; font-family: Verdana, sans-serif; font-size: 14pt; line-height: 21px;">Plosive consonants</span></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 14pt; line-height: 21px;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[t]</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Tick /</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">t</span></b></span><b><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">ick/</span></b><span class="ph"><b><span lang="EN-GB" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;"></span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Time /</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">t</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">ime/</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;"><o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Tea /</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">t</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">i:/</span></b></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[p]</span></b></span><span lang="EN-GB"><o:p></o:p></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Pot </span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">/p</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">ot/<o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Plural /</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">p</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">lu</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">ərəl/<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[k]<o:p></o:p></span></b></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif;">Kind /</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">k</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">aind<b>/</b><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">Car /</span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">k</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">a:<b>/</b><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;">Cormorant: </span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">k</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">o:mərənt</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[b]<o:p></o:p></span></b></span></div>
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<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Balloon</span></b></span><span class="ph"><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"> <b>/b</b></span></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">əlu:n/</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Bag /b</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">æg/<o:p></o:p></span></b></span></div>
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<span lang="EN-GB" style="background-color: silver; font-family: Verdana, sans-serif; font-size: 14pt; line-height: 21px;">Fricative consonants</span><span lang="EN-GB" style="font-family: Verdana, sans-serif; font-size: 14pt; line-height: 21px;"><o:p></o:p></span></div>
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<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">[</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">θ</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">] </span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif;">This sound takes the place of “</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: red; font-family: Verdana, sans-serif;">Z</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif;">” in </span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: red; font-family: Verdana, sans-serif;">Z</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif;">apato<o:p></o:p></span></b></span></div>
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<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Thin /</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">θ</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">in/<o:p></o:p></span></b></span></div>
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<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Thirty /</span></b></span><span class="ph"><b><span style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">θ</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">ə:ti/</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;"><o:p></o:p></span></b></span></div>
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<b><span lang="EN-US" style="font-size: 14pt; line-height: 21px;">Thrifty /</span></b><span class="ph"><b><span style="background-color: #f0f0f8; color: #003399; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 14pt; line-height: 21px;">θ</span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">rifti/<o:p></o:p></span></b></span></div>
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<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">***<o:p></o:p></span></b></span><br />
<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;"><br /></span></b></span></div>
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<span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt; line-height: 18px;">Phonetic Transcription of the same passage<o:p></o:p></span></b></span></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">hi geiv mi </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ð</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">is </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">t</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">ick</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">it </span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">f</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> blok</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ɪ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ŋ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">n ail </span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">dj</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ər</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ɪ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ŋ </span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ðə</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;"> r</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʌʃ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> a:</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">// ai d</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">nt </span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʌ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">nd</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">st</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">æ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">nd// ai w</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">z in </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ðə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">slə</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> lein// aid d</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʒʌ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">st </span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">stopt </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> m</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">əu</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">m</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">nt </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">t </span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ðə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> kondim</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;">nt </span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʃ</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">elf</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">weə </span></b></span><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ðə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> sto:z h</span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">æviŋ</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 12pt;"> seil on l</span></b><span class="ph"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">ə</span></b></span><span class="apple-style-span"><b><span lang="EN-US" style="background-color: #f0f0f8; font-family: 'Lucida Sans Unicode', sans-serif; font-size: 12pt;">ʊ </span></b></span><span class="apple-style-span"><b><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">kæləri</span></b></span><b><span style="font-family: Verdana, sans-serif; font-size: 12pt;"> </span></b><span class="apple-style-span"><b><span style="background-color: #f0f0f8; font-family: Verdana, sans-serif; font-size: 12pt;">kæləriz//</span></b></span></div>
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-weight: normal; text-align: center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana; text-align: -webkit-center;"><b><span style="font-family: Georgia;">"CORTO" SOBRE FONÉTICA Y FONOLOGÍA (Abril 2014)</span></b></span></span></span></span></span></span><br />
<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-weight: normal; text-align: center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana; text-align: -webkit-center;"><b><span style="font-family: Georgia;"><br /></span></b></span></span></span></span></span></span></div>
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> </span><span style="font-family: Verdana, sans-serif;">Se ha puesto sobre la mesa un tema ha despertado gran interés entre los alumnos:<b>fonética y fonología.</b> Se trata de un corto. Se subirá a<b> Youtube</b> para refuerzo de lo que estamos trabajando en clase, a la vez que <b>para participación y conocimiento de nuestra gente </b>de lo que significa el "proyecto Guadarrama Bilingüe". Será de acceso libre en YOU TUBE.: <b>sonidos vocales, semivocales y </b></span><b><span style="font-family: Verdana, sans-serif;">consonantes.</span></b></span></span></span></span></span></span></div>
<span style="font-family: Tahoma; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span style="font-family: Verdana; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif;"><span style="color: #333333; font-weight: normal;"> A fines del corriente mes de ABRIL estará disponible. Se hará saber a los interesados cuándo saldrá a la venta. Su costo rondará los 6 euros y los interesados podrán hacerse con él contra reembolso. </span><b>Duración: 56 minutos. Se podrá incursionar por él en YOU-TUBE (10 minutos del total)</b></span></span></span></span></span></span><br />
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif;"> </span></span></span></span></span></span></span><span style="color: black; font-family: Verdana, sans-serif; line-height: 1.4; text-align: center; text-indent: -18pt;"><b> </b></span></div>
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<span style="line-height: 1.4; text-align: center; text-indent: -18pt;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"> </span> </span></span><b style="color: maroon; font-family: Georgia; line-height: 1.4; text-align: center; text-indent: -18pt;">"CORTO" SOBRE EDUCACIÓN (Noviembre)</b></div>
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<span style="color: #333333; font-family: Tahoma; line-height: 1.4; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif;">No acaban aquí las novedades. <b>Estamos a punto de lanzar un corto sobre educación</b> en el que abordaremos una metodología acorde con todo lo que tiene de nuevo este mundo, Para eso visitaremos tres escuelas de la sierra -una pública, una concertada y una privada- para difundir su trabajo.</span></span></span></span></span></span></span></div>
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<span style="color: #333333; font-family: Tahoma; line-height: 1.4; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"></span></span></span></span></span></span></div>
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span style="font-family: Verdana;"><span style="color: black; font-family: Verdana, sans-serif;">El aporte intelectual y afectivo que nos prestan los que participan en este trabajo ayudará a sacar adelante el film. Al igual que el corto sobre fonética, será subido a YouTube en satisfacción de los cambios que entendemos deben operarse en educación.</span></span></span></span></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-79116313405840607872012-05-17T02:46:00.001-07:002012-10-13T11:19:42.789-07:00MUSIC<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Music</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif;">CONTENTS of</span></b><b><span lang="EN-US" style="font-family: Verdana, sans-serif;"> </span></b><b><i><span lang="EN-US" style="font-family: Verdana, sans-serif;">Music History 102:</span></i></b><b><span lang="EN-US" style="font-family: Verdana, sans-serif;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif;">As is usual with information on the history of Western
music, this site has been organized according to the eras of history:<o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Verdana, sans-serif;"><a href="http://www.ipl.org/div/mushist/#midages" target="_blank"><span style="color: #2200cc;">The
Middle Ages</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Verdana, sans-serif;"><a href="http://www.ipl.org/div/mushist/#ren" target="_blank"><span style="color: #2200cc;">The
Renaissance</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Verdana, sans-serif;"><a href="http://www.ipl.org/div/mushist/#baro" target="_blank"><span style="color: #2200cc;">The
Baroque Age</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Verdana, sans-serif;"><a href="http://www.ipl.org/div/mushist/#class" target="_blank"><span style="color: #2200cc;">The
Classical Period</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Verdana, sans-serif;"><a href="http://www.ipl.org/div/mushist/#rom" target="_blank"><span style="color: #2200cc;">The
Romantic Era</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Verdana, sans-serif;"><a href="http://www.ipl.org/div/mushist/#twen"><span style="color: #2200cc;">The Twentieth Century</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br /></span></b>
<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">ORGAN, BACH AND JAZZ<br />
</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><br />
</span><span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/Jacques%20Loussier.htm" target="_self"><b><span lang="EN-US" style="color: blue;">Jacques Loussier</span></b><b><span lang="EN-US" style="color: blue; text-decoration: none;"> </span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">(born Angers, France, EU, Oct 26, 1934) started playing piano at the age of
ten; when Loussier was just sixteen, he entered the Conservatoire Nationale de
Musique in Paris where he studied with Professor Yves Nat (</span><span style="font-family: 'Times New Roman', serif;"><a href="http://www.telarc.com/biography/bios.asp?aid=58"><b><span lang="EN-US" style="color: blue;">1</span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">, 6). From the outset, creating the beginnings of the
Loussier sound, he played piano in restaurants and dance halls as an
accompanist to chanson singers such as Charles Aznavour and Catherine Sauvage (</span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.musicfromthemovies.com/composer.asp?ID=103"><span lang="EN-US" style="color: blue;">4</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">).<br />
In 1959 Loussier formed the Play Bach Trio (Loussier arranger, piano and organ,
Pierre Michelot bass, and Christian Garros percussion) which used Bachs
compositions as the basis for jazz improvisation,recording (9) for Decca
between 1960 and 1963: the trio achieved sound special effects (7) with
Loussier double tracking some pieces on electronic organ (8,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://theatreorgans.com/grounds/docs/wildside.html"><span lang="EN-US" style="color: blue;">10</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">) and piano and, later, recording some of Loussier
arrangements of Bachs concerti with the Royal Philharmonic Orchestra (</span><span style="font-family: 'Times New Roman', serif;"><a href="http://www.telarc.com/biography/bios.asp?aid=58"><b><span lang="EN-US" style="color: blue;">1</span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">,</span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.musicfromthemovies.com/composer.asp?ID=103"><span lang="EN-US" style="color: blue;">4</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">). The trio toured extensively, eventually selling
over six million LPs in fifteen years, and then disbanded (</span><span style="font-family: Tahoma, sans-serif;"><a href="http://www.telarc.com/gscripts/title.asp?gsku=3516&mscssid=VVA2GT8R5P999L7JQ0WHFBN9SM293EAC"><b><span lang="EN-US" style="color: blue;">2</span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.musicfromthemovies.com/composer.asp?ID=103"><span lang="EN-US" style="color: blue;">4</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.iclassics.com/featureArticle?contentId=215"><span lang="EN-US" style="color: blue;">5</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">).<br />
Loussier is a licensed pilot who used to fly his own light plane and have many
contributions as composer, miscellaneous crew and self composer in filmography
from the 1960s (</span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://imdb.com/name/nm0522145/?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9bG91c3NpZXJ8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=21;fm=1"><span lang="EN-US" style="color: blue;">3</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">)<br />
</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> </span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">
Notes</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://imdb.com/name/nm0522145/?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9bG91c3NpZXJ8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=21;fm=1" target="_blank"><span lang="EN-US" style="color: blue;">More about Jacques Loussier</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br />
</span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.musicfromthemovies.com/composer.asp?ID=103" target="_blank"><span lang="EN-US" style="color: blue;">Music
from the Movies: David Arnold</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br />
</span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.iclassics.com/featureArticle?contentId=215" target="_blank"><span lang="EN-US" style="color: blue;">Play
Bach!, Loussiers´ Trio</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> <o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.jazzprofessional.com/blindfold_tests/MJQ.HTM" target="_blank"><span lang="EN-US" style="color: blue;">Disk
Discussion</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;"> Session conducted by Les Tomkins featuring The
Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and Connie Kay.</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">The following blindfold test was carried out in 1964
but time would hardly change the opinions expressed here. They could well have
been uttered today - or even tomorrow. Jazz lives on!</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;"> (6)</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br />
Kernfeld B(Ed)(1994): «Jacques Loussier», 717.</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br />
(7)<br />
Tomkins L(1964) «Session conducted by by Les Tomkins
featuring The Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and
Connie Kay»,<br />
<b> In:</b></span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.jazzprofessional.com/blindfold_tests/MJQ.HTM"><span lang="EN-US" style="color: blue;">http://www.jazzprofessional.com/blindfold_tests/MJQ.HTM.</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Date: Sat,
30 Sep 2006 14:09:49 -0300<b><br />
</b> (8)<br />
Kernfeld B(Ed)(1994): «Organ», 939-942.<br />
(9)</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br />
Lon 3365 [1963], In: Kernfeld B(Ed)(1994): 717.<br /> (10)</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br />
Sears A(1994) «A Walk on the Wild Side The Story of Jazz
Organ», The Story of Jazz Organ<b>:</b></span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://theatreorgans.com/grounds/docs/wildside.html"><span lang="EN-US" style="color: blue;">http://theatreorgans.com/grounds/docs/wildside.html</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Date: Sat, 30 Sep
2006 14:00:33 -0300<b><br />
</b></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: 'Times New Roman', serif;"><a href="http://www.amazon.com/Bach-Cantatas-BWV-209-202/dp/B00000DNFC/ref=pd_krex_fa_t"><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">Bach: Cantatas BWV 84, 209, 202</span></a></span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">~ Johann Sebastian
Bach (July 11, 2000)</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: Tahoma, sans-serif;"><a href="http://www.amazon.com/gp/recsradio/radio/B00000DNFC/ref=pd_krex_dp_001_006?ie=UTF8&track=006&disc=001"><b><span lang="EN-US" style="color: blue;">Music Sampler (audio)</span></b></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: red; font-family: Tahoma, sans-serif;"> Cantata BWV
84</span></b><b><span lang="EN-US" style="color: red; font-family: Tahoma, sans-serif;"> </span></b><b><i><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Ich bin vergnügt mit meinem Glücke</span></i></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></b></div>
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<b><i><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></i></b><b><i><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></i></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;">Italian Translation:</span></b><b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: red; font-family: Tahoma, sans-serif;">"Io son contento
della mia buona sorte",</span></b><b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></b></div>
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<span lang="EN-US"><b><span style="font-family: Verdana, sans-serif;">The Royal Philarmonic Orchestra of London</span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.geocities.com/Heartland/fields/8616/composerfiles/haydn.html" target="_blank"><span lang="EN-US" style="color: blue;">Franz
Haydn</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.youtube.com/watch?v=dWXj7f7gfsY&feature=related" target="_blank"><span lang="EN-US" style="color: blue;">Hayden String Quartet Op.76 Nº 3 "Kaiser"
4th. mov.(Presto)</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">(audio)</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">More links</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: #555555; font-family: Tahoma, sans-serif;"><a href="http://home.wxs.nl/~cmr/haydn/biograph/tree.htm" target="_blank"><span lang="EN-US" style="color: blue;">Haydn</span></a></span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;">Good site.
Extensive information.</span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"><br />
</span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: #555555; font-family: Tahoma, sans-serif;"><a href="http://classicalmus.interspeed.net/articles/haydn.html" target="_blank"><span lang="EN-US" style="color: blue;">Joseph Haydn and the Classical Era</span></a></span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;">Another good
site with many links.</span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: #555555; font-family: Tahoma, sans-serif;"><br />
</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span style="color: #555555; font-family: Tahoma, sans-serif;"><a href="http://opera.stanford.edu/main.html" target="_blank"><span style="color: blue;">Opera</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif;"> </span><span style="font-family: Tahoma, sans-serif;"> Mlada</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: Tahoma, sans-serif;">Composer:</span><span style="font-family: Tahoma, sans-serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://../main.html" target="_blank"><span style="color: blue;">Nikolai
Rimsky-Korsakov</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Librettist:
Rimsky-Korsakov, after a scenario by S. A. Gedeonov and text by V. A. Krilov</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: Tahoma, sans-serif;">Performance History</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: Tahoma, sans-serif;">Background</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://synopsis.html/" target="_blank"><span style="color: blue;">Synopsis</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: Tahoma, sans-serif;">Libretto</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Symbol;">·<span style="font-family: 'Times New Roman';">
</span></span><span style="font-family: Tahoma, sans-serif;">Music</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Tahoma, sans-serif;">Go to</span><span style="font-family: Tahoma, sans-serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://opera/operas.html" target="_blank"><i><span style="color: black;">OperaGlass</span></i><span style="color: black;">:</span><span style="color: black; text-decoration: none;"> </span><span style="color: blue;">Opera List</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Tahoma, sans-serif;">Go to</span><span style="font-family: Tahoma, sans-serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"><a href="http://opera/main.html" target="_blank"><i><span style="color: black;">OperaGlass</span></i><span style="color: blue;">: Main Page</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: 'Times New Roman', serif;"><a href="http://www.jazzitalia.net/recensioni/tulliomobiglia.asp"><b><span style="color: blue; font-family: Tahoma, sans-serif;">Jazz in Italy</span></b></a><o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif;"> <o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #003366; font-family: Tahoma, sans-serif;"> Tullio Mobiglia<br />
</span></b><b><span lang="EN-US" style="color: #3366cc; font-family: Tahoma, sans-serif;"> The Complete TULLIO MOBIGLIA (1941
- 1946)</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<br /></div>
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<b><span style="color: #3366cc; font-family: Tahoma, sans-serif;"><a href="http://library.thinkquest.org/16020/data/eng/text/classical/composers/brahmsjohannes.html" target="_blank"><span lang="EN-US" style="color: blue;">Brahms
Johannes</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.youtube.com/watch?v=rAERQ92DOOQ" title="Brahms, Capriccio, opus 76 no 2"><span lang="EN-US" style="color: blue;">Brahms, Capriccio, opus 76 no 2</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: 'Times New Roman', serif;"><a href="http://www.gustavholst.info/compositions/listing.php?work=18" target="_blank"><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">The Music of Gustav Holst</span></b></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">Holst: “As a rule I only study things which suggest
music to me ... recently the character of each planet suggested lots to me, and
I have been studying astrology ...” Writing to a friend in 1913, Holst
confirmed the insiration for his</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><i><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Suite for Large Orchestra</span></i><span lang="EN-US" style="font-family: Tahoma, sans-serif;">, a reminder, if any were needed, that these “Planets” are</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><i><span lang="EN-US" style="font-family: Tahoma, sans-serif;">not</span></i><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">the celestial
objects"</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br /></span></b></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">(1914-16) The Planets Op. 32</span></b></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Mars, the Bringer of War</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Venus, the Bringer of Peace</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Mercury, the Winged Messenger</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Jupiter, the Bringer of Jollity</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Saturn, the Bringer of Old Age</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Uranus, the Magician</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">- Neptune, the Mystic</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.nottinghamphilharmonic.co.uk/notes/HTP.html"><span lang="EN-US" style="color: blue;">N</span></a><a href="http://www.nottinghamphilharmonic.co.uk/notes/HTP.html" target="_blank"><span lang="EN-US" style="color: blue;">ottingham Philharmonic</span></a></span></b><b><span style="font-family: 'Times New Roman', serif;"><a href="http://www.nottinghamphilharmonic.co.uk/notes/HTP.html"><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif; text-decoration: none;"> </span><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">Orchestra</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;"> The Planets</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.choirs.org.uk/prognotes/Intimations.htm" target="_blank"><span lang="EN-US" style="color: blue;">Intimations of
Immortality</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;"> Gerald Finzi (1901 - 1956)</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> <o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.youtube.com/watch?v=StXuN9r2-ok&feature=related" target="_blank"><span lang="EN-US" style="color: blue;"> </span><span lang="EN-US" style="color: blue; text-decoration: none;"> </span></a></span></b><span style="font-family: 'Times New Roman', serif;"><a href="http://www.youtube.com/watch?v=sq-0KXwKeg4&feature=related"><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">C</span></b></a><a href="http://www.youtube.com/watch?v=sq-0KXwKeg4&feature=related"><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">larinet Performance (audio)</span></b></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.newadvent.org/cathen/07065a.htm" target="_blank"><span lang="EN-US" style="color: blue;">Guido
of Arezzo</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/guido.htm" target="_blank"><span lang="EN-US" style="color: blue;">The Hand of Guido</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">
The Hand of Guido (also known as the</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Guidonian Hand</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">) is based on the solmization which Guido is credited with having developed
c.1025.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">
</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">UT, A DEER, A FEMALE DEER?</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif;">
Guido d'Arezzo was also famous for his techniques of teaching sight singing. He
is credited with the invention of solmization, assigning syllables for each of
the six tones of the hexachord to the first syllable of each verse of the St. John
Hymn, a musical piece that was very well known at the time.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"><br /></span></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">St. John Hymn "Ut
queant laxis" [ca. 800 A.D.]</span></b></div>
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<br /></div>
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<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
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<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
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</td><td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
</div>
</td><td style="padding: 0cm 0cm 0cm 0cm;">1<br />
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</div>
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<span style="font-family: Tahoma, sans-serif;">1.</span></div>
</td><td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"><br /></span></div>
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<b><span style="font-family: Tahoma, sans-serif;">Ut</span></b><span style="font-family: Tahoma, sans-serif;"> queant laxis</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;">That [ut]
your servants</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<td style="padding: 0cm 0cm 0cm 0cm;"><div align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;">
<span style="font-family: Tahoma, sans-serif;">2.</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;">Re</span></b><span style="font-family: Tahoma, sans-serif;">sonare fibris</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;">May freely
sing [resonare]</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<td style="padding: 0cm 0cm 0cm 0cm;"><div align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;">
<span style="font-family: Tahoma, sans-serif;">3.</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;">Mi</span></b><span style="font-family: Tahoma, sans-serif;">ra gestorum</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;">The
miracles</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
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<td style="padding: 0cm 0cm 0cm 0cm;"><div align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;">
<span style="font-family: Tahoma, sans-serif;">4.</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;">Fa</span></b><span style="font-family: Tahoma, sans-serif;">muli tuorum</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;">Of your
deeds</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="padding: 0cm 0cm 0cm 0cm;"><div align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;">
<span style="font-family: Tahoma, sans-serif;">5.</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;">Sol</span></b><span style="font-family: Tahoma, sans-serif;">ve poluti</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif;">Remove [solve] all stains [of sin] </span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="padding: 0cm 0cm 0cm 0cm;"><div align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;">
<span style="font-family: Tahoma, sans-serif;">6.</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;">La</span></b><span style="font-family: Tahoma, sans-serif;">bii reatum,</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif;">From their unclean lips [Labii],</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
</tr>
<tr>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;">San</span></b><span style="font-family: Tahoma, sans-serif;">cte Ioannes! </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
<td style="padding: 0cm 0cm 0cm 0cm;"><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;">Saint
John!</span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
</td>
</tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"> </span><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif;">This is where we get</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Ut</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">[later changed to
Do]</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Re</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Mi</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Fa</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Sol</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">, and</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">La</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">, sometimes also
called</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Ela</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">. The name</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><i><span lang="EN-US" style="font-family: Tahoma, sans-serif;">solmization</span></i><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">comes from the
fourth and fifth syllables, sol-mi. Later, when the seventh tone of the
diatonic scale was added into popular use, the initials of the Latin words in
the last line of the song, Sancte Ioannes, were combined, for</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Si</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">, later changed to</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Ti</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">. (see</span><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/guido.htm" target="_blank"><span lang="EN-US" style="color: blue;">The Hand of Guido</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">)</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/music.htm" target="_self"><b><span lang="EN-US" style="color: blue;"> </span></b></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/music.htm" target="_self"><b><span lang="EN-US" style="color: blue; text-decoration: none;">The Royal
Philarmonic Orchestra of London </span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif;">(Victor Pellegrini and Juan Cerro -guitar;
José Menese -lyrics) García Lorca</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="color: blue; font-family: 'Times New Roman', serif;"><b><br /></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-US" style="color: blue; font-family: 'Times New Roman', serif;"><b> </b></span><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;">Tango</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="http://www.welcomeargentina.com/tango/historia.html" target="_blank"><span lang="EN-US" style="color: blue;">History
of "Tango</span></a></span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">"</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/diccionariolunfardo.htm" target="_blank"><span lang="EN-US" style="color: blue;">Dictionary of "Lunfardo"</span><span lang="EN-US" style="color: blue; text-decoration: none;"> </span></a></span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> Slang spoken
by the lower classes -immigrants and poor working people- in Buenos Aires</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;">Famous Tangos</span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/cancion1.mp3">El día que me quieras</a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No02.mp3"> La cumparsita</a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No03.mp3">A media luz</a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Times New Roman', serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"> Piazzola</span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No04.mp3"><span style="color: blue;">Adios Nonino</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No05.mp3"><span style="color: blue;">Balada para un loco</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: 'Times New Roman', serif;"> </span><span style="font-family: 'Times New Roman', serif;"> </span><b><span style="font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No06.mp3"><span style="color: blue;">Chorra</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No07.mp3"><span style="color: blue;">Uno</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No08.mp3"><span style="color: blue;">Volver</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No09.mp3"><span style="color: blue;">Sur</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No10.mp3"><span style="color: blue;">Nostalgias</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No11.mp3"><span style="color: blue;">Cambalache</span></a></span></b><span style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="color: blue; font-family: Tahoma, sans-serif;"> </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif;"><a href="file:///D:/Servidor%20Recuperado/public_html/Track%20No12.mp3"><span lang="EN-US" style="color: blue;">Caminito</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="font-family: Tahoma, sans-serif;"><a href="http://www.theworldly.org/ArticlesPages/Articles2006/November06Articles/ArabSpainMusic.html" target="_blank"><span lang="EN-US" style="color: blue;">Arabic Contributions to Spanish Music, Song and Dance</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif;"> by HABEEB SALLOUM, Senior Global Correspondent</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-GB">Nocturnal Ethnographies: Following Cortázar in the
Milongas of Buenos Aires</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB"><a href="http://www.sibetrans.com/trans/trans5/savigliano.htm" target="_blank"><b><span style="color: blue;">http://www.sibetrans.com/trans/trans5/savigliano.htm</span></b></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB">[…] Milongas, in the current tango lexicon, are the
tango joints--a space and a time when and where tango bodies get together to
produce tanguidad (tanguity, tango-ness). They are the physical site of the
corporeal, temporary encounter of the practitioners of the tango dance. The
milongas of Buenos Aires are a slippery landscape. They are invisible to eyes
untrained in tango and elusive to those who do not keep up with current milonga
tips</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-GB">Music of Argentina</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB"><a href="http://www.absoluteastronomy.com/topics/Music_of_Argentina" target="_blank"><b><span style="color: blue;">http://www.absoluteastronomy.com/topics/Music_of_Argentina</span></b></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB"> The <b>music of </b></span><b><a href="http://www.absoluteastronomy.com/topics/Argentina"><span lang="EN-GB" style="color: #605e53;">Argentina</span></a></b><b><span lang="EN-US"> </span></b><span lang="EN-US">is known mostly
for the </span><a href="http://www.absoluteastronomy.com/topics/Tango_music"><span lang="EN-GB" style="color: #605e53;">tango</span></a><span lang="EN-US"> </span><span lang="EN-GB">, which developed
in </span><span lang="EN-GB" style="color: #605e53;"><a href="http://www.absoluteastronomy.com/topics/Buenos_Aires" target="_blank"><span style="color: blue;">Buenos Aires</span></a></span><span lang="EN-US"> </span><span lang="EN-GB">and surrounding areas, as well as </span><span lang="EN-GB" style="color: #605e53;"><a href="http://www.absoluteastronomy.com/topics/Montevideo" target="_blank"><span style="color: blue;">Montevideo</span></a></span><span lang="EN-US"> , </span><span lang="EN-GB" style="color: #605e53;"><a href="http://www.absoluteastronomy.com/topics/Uruguay" target="_blank"><span style="color: blue;">Uruguay</span></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-GB">Andean Music, the Left, and Pan-Latin Americanism: The
Early History </span></b><span lang="EN-GB">(en inglés)</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB">Fernando Rios (University of Illinois,
Urbana-Champaign)</span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"> In late 1967, future <i>Nueva
Canción </i>(“New Song”) superstars Quilapayún debuted in Paris amid news
of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little
fanfare. Quilapayún was not well-known at this time in Europe or even back home
in Chile, but nonetheless the ensemble enjoyed a favorable reception in the
French capital.</span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><b>Domenico Zipoli Italian musician</b><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB"><a href="http://www.hoasm.org/VIIH/Zipoli.html" target="_blank"><b><span lang="ES" style="color: blue;">http://www.hoasm.org/VIIH/Zipoli.html</span></b></a></span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB">[…] he started a three months crossing bound for Rio
of Plata (in Argentina). After a violent storm he and the others disembarked in
July at Buenos Aires, and after 15 days set out for Cordoba. By 1724 he had
completed with distinction the required three years each of philosophy and
theology at the Jesuit Colegio Maximo and university in Cordoba. He continued
his musical activities, as organist, choirmaster and printer, which may have
delayed the completion of his studies. He was ready to receive priest's orders
in 1725, but died (of tuberculosis) without them for lack of a bishop in
Cordoba to ordain him that year.</span><span lang="EN-US"><o:p></o:p></span></span><br />
<br />
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<span style="font-weight: bold;"><br /></span></div>
<div style="font-family: Verdana; margin: 0in 0in 0in 0.375in; text-align: left;">
<span style="font-weight: bold;">Europeana</span></div>
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<br /></div>
<div style="font-family: Verdana; margin: 0in 0in 0in 0.375in; text-align: left;">
<span style="font-weight: bold;">Explore the World of Musical Instruments</span></div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in 0in 0in 0.375in; text-align: left;">
Yiddish Theatre in London</div>
<div style="font-family: Verdana; margin: 0in 0in 0in 0.375in; text-align: left;">
<span style="font-weight: bold;">From Dada to Surrealism</span></div>
<div style="font-family: Verdana; margin: 0in 0in 0in 0.375in; text-align: left;">
<b><a href="https://app.e2ma.net/app/view:CampaignPublic/id:1403149.7106723864/rid:517c51fc9932340e00ccd883c019801e" style="color: #1111cc; cursor: pointer; font-family: arial, sans-serif;" target="_blank">https://app.e2ma.net/app/view:CampaignPublic/id:1403149.7106723864/rid:517c51fc9932340e00ccd883c019801e</a><span style="font-size: x-small;"><u></u></span></b></div>
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<br /></div>
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<b style="font-family: Verdana, sans-serif;"><span lang="EN-GB">Music and Politics</span></b></div>
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<span style="background-color: white; font-family: Verdana, sans-serif;"> </span><b style="background-color: white; font-family: Verdana, sans-serif;"><span style="letter-spacing: 0.1pt;"> Toward a Political Anthropology of Mission
Sound: Paraguay in the 17th and 18th Centuries</span></b><span style="background-color: white; font-family: Verdana, sans-serif; letter-spacing: 0.1pt;"> GUILLERMO WILDE<i>Translated from the</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><i><span lang="EN-GB" style="letter-spacing: 0.1pt;"> Spanish by Eric Ederer</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;">
Any consideration of pre-Enlightenment art, particularly music, presents
similar difficulties to taking on any of the so-called “aesthetic experiences”
of non-Western societies. The globalizing concept of “aesthetics” inevitably
becomes entangled with other notions of greater historical and ideological
charge that configure a contemporary worldview—artistic individuality, creative
will, and “the work of art,” among others.</span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span><br />
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><br /></span></span>
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL
CULTURAL DE LA SIERRA"</span></div>
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<span style="font-family: Tahoma;"><o:p>
</o:p></span>Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-91691006199679197032012-05-17T02:29:00.000-07:002012-10-13T11:20:02.049-07:00POETRY<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-family: Verdana, sans-serif;">POETRY</span></b></div>
<div align="center" class="MsoNormal">
<span style="font-family: Verdana, sans-serif; font-size: x-small;"><b>(<a href="http://www.fundacionemiliamariatrevisi.com/poesia.htm">Also see <span style="color: blue;">POESÍA</span></a>)</b></span></div>
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<span style="font-family: Verdana, sans-serif;">
</span></div>
<span style="font-family: Verdana, sans-serif;"><b>
<span lang="EN" style="color: #333333;">
'Poetry is ... what makes my toenails twinkle' (Dylan Thomas) </span></b>
<span lang="EN" style="color: #333333;">
If poetry is what makes your 'toenails twinkle' and you enjoy listening to poets
reading their work, there are two excellent resources on the web: <b><i>The
Poetry Archive </i></b>and <b><i>Poetry Quartets. </i></b></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span lang="EN" style="color: #333333;"><b><i><br /></i></b></span></span>
<span lang="EN"><span style="font-family: Verdana, sans-serif;">
<a href="http://www.poetryarchive.com/" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
Poetry Archive</a></span></span><br />
<span lang="EN"><br /></span>
<br />
<blockquote>
<div align="justify">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4SSJFb09uXGzmL5kZA_mUVzGgnXu2i2qTsr1rwwfE0VtUxKR2jEfi8TaVgXgTC5F0xWw9jsxVqtk6i4vlTXezAcQX3Z1eFrozgRfLyGPHvBiFFms-XJo-3HMBEzQdVVZscOK7gNbo7tx/s1600/YoungPoets+.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh4SSJFb09uXGzmL5kZA_mUVzGgnXu2i2qTsr1rwwfE0VtUxKR2jEfi8TaVgXgTC5F0xWw9jsxVqtk6i4vlTXezAcQX3Z1eFrozgRfLyGPHvBiFFms-XJo-3HMBEzQdVVZscOK7gNbo7tx/s200/YoungPoets+.jpg" width="137" /></a><span lang="EN" style="color: #333333;"><span style="font-family: Verdana, sans-serif;">The Poetry Archive is a treasure-trove of English-language poets reading
their own work. Some are historic recordings, some have been made sp ecially
for the Archive. The Historic recordings section includes readings by Robert
Browning, Roald Dahl, T S Eliot, Siegfried Sassoon, Dylan Thomas and William
Butler Yeats, among others. There are also recordings of contemporary poets
such as Seamus He a ney, Ruth Padel and Kathleen Jamie. If you'd like to
listen to some of the poets who have visited Argentina in recent years, you
will find recordings by Simon Armitage, John Burnside, Ian McMillan , Jean
Sparckland and Owen Sheers. </span></span></div>
</blockquote>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<span lang="EN" style="color: #333333;">
Resources for teachers </span></span></b></div>
<blockquote>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><span lang="EN" style="color: #333333;">
If you would like to bring poetry to life in your school, you might like to
use the recordings and interviews in class or check the Teachers' section in
the </span><span lang="EN">
<a href="http://www.poetryarchive.com/" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
Poetry Archive</a></span><span lang="EN" style="color: #333333;">.
These pages are specially designed to help teachers and students to get the
most o ut of the Poetry Archive. There are lesson plans and activities for
all ages and for the inclusive classroom. Their plans include a forum for
teachers to discuss their experiences, as well as a space where you will be
able to create your own teaching materials and share them with colleagues.
This section also has an excellent list of links to other websites on
poetry. </span></span></div>
</blockquote>
<b><span style="font-family: Verdana, sans-serif;">
<span lang="EN" style="color: #333333;">
The Children's Poetry Archive </span></span></b><br />
<b><span style="font-family: Verdana, sans-serif;"><span lang="EN" style="color: #333333;"><br /></span></span></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8q2WbZagjVdgWHFrl36Q0o7Zm1tM6juormnQtmaxqUn-Y5qcmiCo3gt0nSsxtljv1tBaEdDMoyG9_luaRTznTdzpR79s_u62ebbknoyAWngMjv4tajEkz_YeuVi2FPKAtjw8VDTUjtGmR/s1600/childrenpoetry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8q2WbZagjVdgWHFrl36Q0o7Zm1tM6juormnQtmaxqUn-Y5qcmiCo3gt0nSsxtljv1tBaEdDMoyG9_luaRTznTdzpR79s_u62ebbknoyAWngMjv4tajEkz_YeuVi2FPKAtjw8VDTUjtGmR/s1600/childrenpoetry.jpg" /></a></div>
<b><span style="font-family: Verdana, sans-serif;"><span lang="EN" style="color: #333333;"><br /></span></span></b>
<br />
<blockquote>
<span lang="EN" style="color: #333333;"><span style="font-family: Verdana, sans-serif;">
This part of the Archive is full of poems chosen specially for children.
Meet old favourites and make new discoveries. Jean Sprackland, who visited
Argentina in September, is currently the guide on this part of the website,
sharing her favourite poems with children. </span></span></blockquote>
<span style="font-family: Verdana, sans-serif;">
<a href="http://www.britishcouncil.org/arts-literature-publications-and-resources-poetryquartetshome.htm" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
<span lang="EN">The Poetry Quarters </span></a></span><br />
<blockquote>
<span style="font-family: Verdana, sans-serif;"><span lang="EN" style="color: #333333;">
The British Council, in collaboration with </span>
<a href="http://www.bloodaxebooks.com/" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
<span lang="EN">Bloodaxe Books </span></a>
<span lang="EN" style="color: #333333;">
, have produced a series of contemporary poetry recordings featuring poets
reading and talking about their work. You can listen to free audio extracts
of the recordings online. Some of the poems also have flash movies to
accompany them . </span></span></blockquote>
<span style="font-family: Verdana, sans-serif;"><span lang="EN-GB">
<a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="116219cebd9075cb_">Mary Godward </a></span>
<span lang="EN-GB"><br />
</span><span lang="EN-GB">
Operations Manager </span><span lang="EN-GB"><br />
</span><span lang="EN-GB">
British Council, Argentina</span></span><br />
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<b><br /></b></div>
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<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.cyberessays.com/English/164.htm" style="text-decoration: none;" target="_blank">
18th. Century Poem Analysis</a></span></b><br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRJpdSCdsHvWpSEmhS6MuUWNAPNrno7HWWceoCrit2OcHxm76SFrrGL2R-SWwxPfq5C11jenEDgvE96xsBlrtZT2OnJzs6C3g8YZetsVu3m8Rx9PbCejgrZxhrKuYNtvMt_dY7iGHuWKqm/s1600/Keats.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRJpdSCdsHvWpSEmhS6MuUWNAPNrno7HWWceoCrit2OcHxm76SFrrGL2R-SWwxPfq5C11jenEDgvE96xsBlrtZT2OnJzs6C3g8YZetsVu3m8Rx9PbCejgrZxhrKuYNtvMt_dY7iGHuWKqm/s1600/Keats.jpg" /></a></div>
<div style="text-align: center;">
<b style="font-family: Verdana, sans-serif;"><a href="http://www.literaryhistory.com/19thC/KEATS.htm" style="text-decoration: none;" target="_blank">John Keats</a></b>
</div>
<b><br /></b></div>
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<span style="font-family: Verdana, sans-serif;"> <a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="top0">The differences
between eighteenth-century literature and romantic poems, with respect to
history is constituted here. This is seen through the influential
works of </a><b>
<a href="http://www.literaryhistory.com/19thC/KEATS.htm" style="text-decoration: none;" target="_blank">
John Keats</a></b><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="top1"><b> and </b>
</a>
<a href="http://www.123helpme.com/search.asp?text=Alexander+Pope" style="font-weight: 700; text-decoration: none;" target="_blank">
Alexander Pope</a>.</span></div>
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<br /></div>
<div class="MsoNormal">
<b><span style="font-family: Verdana, sans-serif;">
<span style="color: blue;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/WORDSWORTH.htm" style="text-decoration: none;" target="_blank">
Wordsworth</a></span></span></b></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">
<a href="http://plato.stanford.edu/entries/taoism/" style="text-decoration: none;" target="_blank">
Taoism</a></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">
Tao Te Ching 14</span></span></div>
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<span style="font-family: Verdana, sans-serif;">
You look at it, but it is not to be seen;<br />
Its name is Formless.<br />
You listen to it, but it is not to be heard;<br />
Its name is Soundless.<br />
You grasp it, but it is not to be held;<br />
Its name is Bodiless.<br />
These three elude all scrutiny,<br />
And hence they blend and become one.<br />
Its upper side is not bright;<br />
Its under side is not dimmed.<br />
Continuous, unceasing, and unnameable,<br />
It reverts to nothingness.<br />
It is called formless form, thingless image;<br />
It is called the elusive, the evasive.<br />
Confronting it, you do not see its face;<br />
Following it, you do not see its back.<br />
Yet by holding fast to this Way of old,<br />
You can harness the events of the present,<br />
You can know the beginnings of the past--<br />
Here is the essence of the Way.<br />
</span></div>
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<span style="font-family: Verdana, sans-serif;">
<b>Chuang Tzu 22</b>
<br />
<br />
<br />
Tung-kuo Tzu asked Chuang Tzu,"What is called Tao-where is it?"<br />
"It is everywhere," replied Chuang Tzu.<br />
Tung-kuo Tzu said, "It will not do unless you are more specific."<br />
"It is in the ant," said Chuang Tzu.<br />
"Why go so low down?"<br />
"It is in the weeds."<br />
"Why even lower?"<br />
"It is in a potsherd."<br />
"Why still lower?"<br />
"It is in the excrement and urine," said Chuang Tzu. </span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">
Tung-kuo gave no
response.<br />
"Sir," said Chuang Tzu, "your question does not touch the
essential.</span></div>
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<span style="font-family: Verdana, sans-serif;">
When inspector Huo
asked the superintendent of markets about the fatness of pigs, the
tests were always made in parts less and less likely to be fat. Do not
insist on any particular thing.<br />
Nothing escapes from Tao. Such is perfect Tao, and so is great
speech. </span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">
The three words, Complete,
Entire, and All, differ in name but are the same in actuality. They
all designate the One."<span style="color: red;"><br />
<br />
</span><span style="color: red;">
<a href="http://www.la-poesia.it/italiani/fine-1500/Angiolieri/angiolieri_se_fossi_fuoco.htm" style="text-decoration: none;" target="_blank">
<b> </b></a></span><b><a href="http://www.la-poesia.it/italiani/fine-1500/Angiolieri/angiolieri_se_fossi_fuoco.htm" style="text-decoration: none;" target="_blank">Poesía
Italiana</a> (in Italian)<br />
</b><b> Cecco
Angiolieri <br />
1260-1312
<br />
</b>
<span style="color: red;">
</span></span><br />
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><span style="color: red;"><span style="font-family: Verdana, sans-serif;"><span style="color: red;"><br /></span></span></span></span>
<br />
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<span style="font-family: Verdana, sans-serif;"><span style="color: red;"><span style="font-family: Verdana, sans-serif;"><span style="color: red;"> </span></span></span></span><br />
<br />
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<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></div>
<div style="text-align: -webkit-auto;">
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Educational Gazette</b></span></div>
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<span style="font-family: Verdana, sans-serif;">The<span style="color: green;"> </span></span><b style="background-color: transparent; font-family: Verdana, sans-serif;"><span style="color: green;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/indexEducationalGazette.htm" style="border-bottom-color: black; border-bottom-style: solid; border-bottom-width: 0px; color: black; display: inline !important; padding: 2px 2px 2px 4px; text-decoration: none; width: 157px;" target="_blank"><span style="color: #003399;">Educational Gazette</span></a></span></b><span style="font-family: Verdana, sans-serif;"><br />(EG)
is a collaborative, computer-supported <b>House Organ</b>
journal published by<b><span style="color: navy;"> EMTF</span></b>.
In order to support the process of collaborative work,
contributors with different backgrounds and living in
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are welcome.</span></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com1tag:blogger.com,1999:blog-4496318716801576502.post-27931273126496541732012-05-15T08:31:00.000-07:002012-10-13T11:20:17.642-07:00ECOLOGY<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHqaA1LfGBwGE7o2Wx61aX-ej5XTGgq1_BLKcBHeVs5by3JW3fLvyc4rnJ58BIELPG6cyNGGi7ND-EA4uFWuIqcFYRfcdrrZg6CJLMWqG4AWp_JQ5JQLsZCaGXuLdWxz43XajIMqTndhr0/s1600/ecolog%C3%ADa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHqaA1LfGBwGE7o2Wx61aX-ej5XTGgq1_BLKcBHeVs5by3JW3fLvyc4rnJ58BIELPG6cyNGGi7ND-EA4uFWuIqcFYRfcdrrZg6CJLMWqG4AWp_JQ5JQLsZCaGXuLdWxz43XajIMqTndhr0/s1600/ecolog%C3%ADa.jpg" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b><br /></b></span>
<span style="font-family: Verdana, sans-serif;"><b>ECOLOGY</b></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="color: red; font-size: 12pt; text-align: justify;"> </span><span style="font-family: Tahoma; text-align: justify;"><span style="font-size: x-small;"> </span> The term ecology refers to all the organisms in a given place in interaction with their nonliving environment (Forman, 1995: 19; Forman & Godron, 1986: 9)(<span style="color: blue;">2</span>,<span style="color: blue;">3</span>). Landscape studies suggest that there is a limit in the variety of<a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protected%20Area.htm" style="text-decoration: none;" target="_self"> <span style="color: blue;"><b>habitats</b></span></a><b><a href="http://www.fundacionemiliamariatrevisi.com/ingles/habitats.htm" style="text-decoration: none;"> </a></b>available for organisms (Forman, 1995: 21)(<span style="color: blue;">2</span>).<br /> Ecological context is much more complex than an organism and its accurate indicators are rarely available (Freedman et al., 1995: 69)(<span style="color: blue;">4</span>).<br /> Structure, metabolism and biogeochemistry of <span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/ecosystems.htm" style="font-weight: 700; text-decoration: none;">ecosystems </a></span>(Es) are exceedingly complex (Likens, 1995: 381)(<span style="color: blue;">8</span>) and Es response to environmental variability is a complex product of coevolution.<br /> Simple components of an E are considered to be deterministic in their cause and effect relationships. However, the behavior of Es is affected by sources of variation beyond our ability to understand their<br />complexity (Moir & Mowrer, 1995: 240)(<span style="color: blue;">9</span>). Understanding of Es is weak and prediction of cause-effect relationship in Es is very imprecise (Woodley & Forbes, 1995: 55)(<span style="color: blue;">10</span>).<br /> Terms relative to the protection of Es, like <b><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/preservation.htm" style="text-decoration: none;">preservation</a></span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/preservation.htm" style="text-decoration: none;">,</a></b> </span><span style="text-align: justify;"></span><b style="text-align: justify;"><span style="font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Conservation.htm" style="text-decoration: none;" target="_self">conservation</a></span></b><span style="font-family: Tahoma; text-align: justify;">,<span style="color: blue;"> restoration</span>, mitigation, and<a href="http://www.fundacionemiliamariatrevisi.com/ingles/sustainableplace1.htm" style="font-weight: 700; text-decoration: none;"> <span style="color: blue;">sustainability</span></a>, which are becoming popularized, are often confused (Likens, 1995: 13)(<span style="color: blue;">8</span>). The definition of "sustain" is not simple although efforts have been made to clarify the word by the <span style="color: blue;">context</span> in which it is used (Moir & Mowrer, 1995: 240)(<span style="color: blue;">9</span>). Sustainability of Es is complex since many properties of Es are still abstract (Gauthier & Patino, 1995: 540)(<span style="color: blue;">5</span>).<br /> In the <b><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/management1.htm" style="text-decoration: none;">management</a></span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/management1.htm" style="text-decoration: none;"> </a></b>of Es, taxonomic units may be arbitrary and Es boundaries are usually highly subjective: frequently they lack adequate definition and/or depend on context. Institutional boundaries differ from ecological ones and different management agencies vary in mandate, policies, responsibilities or jurisdictions generating the need of joint decision making (Anderson, 1995: 46; Woodley & Forbes, 1995: 54-55)(1, 10) Managing Es in the sense of full control is not possible. The complexity of natural Es defies the establishment of an absolute experimental control (Likens, 1985: 382; Woodley & Forbes, 1995:55)(7, 10).</span>
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<span style="font-family: Verdana, sans-serif;">
<b> References<br />
</b><br />1. ANDERSON,J G T(1995) «Ecosystem Ecology and Conservation Biology: A
Critique», In: T B Herman et al.(Eds)(1995) pp. 45-49.<br />2. FORMAN, R T & M GODRON(1986) Landscape Ecology, New York, Wiley.<br />3. FORMAN, R T T(1995) Land Mosaics. The Ecology of Landscapes and Regions,
Cambridge, CUP.<br />4. FREEDMAN,B et al.(1995) «Ecological Monitoring and Research in Greater
Ecological Reserves», In: T B Herman et al.(Eds)(1995) pp. 68-80.<br />5. GAUTHIER,D A & L PATINO(1995) «Protected Area Planning in Fragmented Data
Poor Regions», In: T B Herman et al.(Eds)(1995) pp. 537-547.<br />6. HERMAN, T B et al.(Eds)(1995) Ecosystem Monitoring and Protected Areas,
Wolfville, SAMPAA.<br />7. LIKENS G E(1985) «An Experimental Approach For the Study of Ecosystems», Jour.
of Ecol.73, 381-396.<br />8. LIKENS,G E(1995) «Sustainable Ecological Research and the Protection of
Ecosystems», In: T B Herman et al.(Eds)(1995), pp. 13-21.<br />9. MOIR,W H & H T MOWRER(1995), «Unsustainability», For.Ecol.and Mgment.73,
239-248.<br />10. WOODLEY,S & G FORBES(1995) «Ecosystem Management and Protected Areas:
Principles, Problems and Practices», In: T B Herman et al.(Eds)(1995), pp.
50-58.<br />
</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
<a href="http://www.idrc.ca/openebooks/683-6/" style="font-weight: 700; text-decoration: none;" target="_blank">
Traditional Ecological Knowledge Concepts and Cases</a></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/ecologicalregion.htm" style="text-decoration: none;" target="_self">ECOLOGICAL REGIONS</a></span></b></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<span lang="ES-CR">
<a href="http://alainet.org/active/39585" style="color: blue; text-decoration: none; text-underline: single;" target="_blank">
<span lang="PT-BR">We need 'a global movement to defend
Mother Earth'</span></a></span><span lang="PT-BR">
(Derrick O'Keefe)<br />
</span></span></b></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<span lang="PT-BR">ConoSur: </span>
<span lang="ES-CR">
<a href="http://alainet.org/active/39419" style="color: blue;" target="_blank">
<span lang="PT-BR">Farming takes environmental toll</span></a></span><span lang="PT-BR">
(Andrés Gaudin) <br />
</span></span></b></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>Energy</b></span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://dieoff.org/" style="text-decoration: none;" target="_blank">The
end of Fossil Fuels</a></span></b></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b><a href="http://dieoff.org/page95.htm" style="text-decoration: none;">
The Commons: Problems of Pollution:
</a><br />
</b><b>
</b></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>Advances in Energy Studies<br /><a href="http://www.chim.unisi.it/portovenere/portovenere/summary1.pdf" style="text-decoration: none;" target="_blank">ENERGY FLOWS IN ECOLOGY AND ECONOMY</a></b><a href="http://www.economist.com/business/displaystory.cfm?story_id=10145492" style="color: #0000cc; text-decoration: none;" target="_blank"><b>Coal
Power still Going Strong</b></a></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><span lang="EN">Efforts
to curb greenhouse-gas emissions have yet to dent enthusiasm for coal</span><br /><span class="style65" id="Level1PageTable4Cells_HtmlPhControlCell1Content0"><strong>The future of low carbon energy</strong><br />
</span>
<a href="http://www.rgs.org/HomePage.htm" style="font-weight: 700; text-decoration: none;" target="_blank">
Royal
Geographic Society</a></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;">A</span><span style="font-weight: 700;">groenergy</span><br />
<br />
<a href="http://aginfo.psu.edu/psa/fw98/put.html" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
Putting It Together</a></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>
New Major Explores Ecology-Based Agriculture </b>
<br />
<a href="http://dieoff.org/page148.htm" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
Energy and Economic Myths</a>, <small><small>
by Nicholas Georgescu-Roegen</small></small><br />
<span style="font-weight: 700;"> <a href="http://dieoff.org/page17.htm" style="color: blue; text-decoration: none; text-underline: single;" target="_blank"> Storage, Emergy and Transformity</a><br />
</span></span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.consecol.org/vol5/iss1/art15/" style="text-decoration: none;">
Ecosystems and Immune Systems</a>
</span></b></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://www.consecol.org/vol1/iss1/art9/" style="text-decoration: none;" target="_blank">
Advocacy, Science, Policy, and Life in the Real World</a><br />
</b>
<a href="http://nigec.ucdavis.edu/" style="font-weight: 700; text-decoration: none;" target="_top">
Global Environmental Change (1)</a></span></div>
<div align="left">
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/globalenvironmentalchange2..htm" style="text-decoration: none;">
Global Environmental Change (</a><span style="color: blue;">2)</span></span></span></div>
<div align="justify">
<br /></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://sustsci.harvard.edu/ists/docs/gallopin_epistem0410_bgpaper.pdf" style="text-decoration: none;" target="_blank">Epistemological Challenges to Science and Technology</a><br />
</b><br /><b>
<a href="http://www.consecol.org/vol3/iss1/art7/" style="text-decoration: none;" target="_blank">Resilience, Flexibility, and Adaptative Management</a></b></span></div>
<div align="justify">
<span class="heading1"><span style="font-family: Verdana, sans-serif;"> ABSTRACT</span></span></div>
<div align="justify">
</div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
In many cases, a predicate of adaptive environmental assessment and management (AEAM) has been a search for flexibility in management institutions, or for resilience in the ecological system prior to structuring actions that are designed for learning. Many of the observed impediments to AEAM occur when there is little or no resilience in the ecological components (e.g., when there is fear of an ecosystem shift to an unwanted stability domain), or when there is a lack of flexibility
in the extant power relationships among stakeholders. In these cases, a pragmatic solution is to seek to restore resilience or flexibility rather than to pursue a course of broad-scale, active adaptive management. Restoration of resilience and flexibility may occur through novel assessments or small-scale experiments, or it may occur when an unforeseen policy crisis allows for reformation or restructuring of power relationships among stakeholders.
</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>
<br />
</b><span style="color: blue;"><b>
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/Belief1.htm" style="text-decoration: none;" target="_self">Belief</a></b></span><b><span style="color: blue;">
</span></b><br />
In anthropology [ecology] the
centre stage is [was] for people [Nature] (39). Some [people] societies pay more
attention to knowledge [beliefs] than to beliefs [knowledge], and more attention
to protected [recreational] areas than to recreational [protected] areas
(40)<span style="color: blue;"><b><br /> </b></span></span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/language&belief1.htm" style="text-decoration: none;" target="_self">
Language & Belief</a></span></b></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
Language adjusts to the world's view and structural aspects of
language influence ways of looking at the world</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;"><a href="http://www.eseh.org/conference/archive/first/Abstracts_2001.pdf" style="color: #0000cc; text-decoration: none;" target="_blank">European Society for Environmental History</a></span></b></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span><br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> 1st International Conference</b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> 5th-9th September 2001, StAndrews, Scotland</b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> ABSTRACTS OF PAPERS</b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b>
</span><br />
<div align="justify">
<br /></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>
<span style="color: red;">Other References</span><br />
</b> <br />
2.
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/Protected%20Area.htm" style="font-weight: 700; text-decoration: none;" target="_self"><span style="color: black;">
Protected Areas</span></a><br />
6. <b> <a href="http://www.ecologyandsociety.org/vol4/iss2/art13/abstract.html" style="text-decoration: none;" target="_blank">Conservation
Ecology</a> </b><br />
10.<b>
<a href="http://www.idrc.ca/openebooks/683-6/" style="text-decoration: none;" target="_blank">
Traditional Ecological Knowledge Concepts and Cases</a></b><br />
12. <b>
<a href="http://dieoff.org/" style="text-decoration: none;" target="_blank">Die
off</a></b></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">"If
a path to the better there be, it begins with a full look at the worst."
-- Thomas Hardy</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"> 19.<b><a href="http://www.ksg.harvard.edu/sustsci/ists/docs/gallopin_epistem0410_bgpaper.pdf" target="_blank"><span style="text-decoration: none;">
Sustainable development: Epistemological Challenges to Science and Technology</span></a></b></span></div>
<span style="font-family: Verdana, sans-serif;"><br />
<a href="http://www.ecologyandsociety.org/vol5/iss1/art15/" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
Ecology and Society (1)</a></span><br />
<span style="font-family: Verdana, sans-serif;"><span class="proof_title">
Ecosystems and Immune Systems: Hierarchical
Response Provides Resilience against Invasions</span><br />
</span><br />
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://www.consecol.org/vol1/iss1/art9/" style="color: blue; text-decoration: none; text-underline: single;" target="_blank">
Ecology and Society (2)</a><br />
</b><span class="proof_title">
Advocacy, Science, Policy, and Life in the Real World</span><br />
</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
<a href="http://www.ihdp.uni-bonn.de/html/publications/workingpaper/wp02m.htm" style="font-weight: 700; text-decoration: none;">
The problem of Fit Between Ecosystems and Institutions</a></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"> A Report for the IHDP by
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/ecology.htm#authors" style="text-decoration: none;" target="_blank">Carl Folke,
Lowell Pritchard Jr., Fikret Berkes, Johan Colding</a>, and
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/ecology.htm#authors" style="text-decoration: none;">Uno Svedin</a> </span><b style="font-family: Verdana, sans-serif;">May
1998</b><span style="font-family: Verdana, sans-serif;"> , © by the authors</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><br />
Published by the International Human Dimensions Programme on
Global Environmental Change (IHDP), Walter-Flex-Str. 3, 5113 Bonn, Germany.<b> </b>
E-mail: <a href="mailto:ihdp@uni-bonn.de" style="text-decoration: none;">
ihdp@uni-bonn.de</a>, Web:
<a href="http://www.uni-bonn.de/ihdp" style="text-decoration: none;" target="_blank">
www.uni-bonn.de/ihdp</a> The Working Papers are an IHDP publications series to
draw attention to emerging issues in the field of Human Dimensions of Global
Environmental Change. The Papers represent preliminary material circulated to
stimulate discussion and comments. These represents the view(s) of the author(s)
and do not necessarily represent those of the IHDP nor its sponsors ICSU and
ISSC.</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div align="justify">
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">
<a href="http://www.geo.ucl.ac.be/LUCC/pdf/Editorial-GEC05.pdf" style="color: blue; text-decoration: none; text-underline: single;" target="_blank">
Global Environmental change</a>. </span></span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"> Conditions for sustainability of
human–environment systems: Information, motivation, and capacity.</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;"><br />
<span style="font-weight: 700;">
<a href="http://sustsci.harvard.edu/ists/docs/gallopin_epistem0410_bgpaper.pdf" style="color: blue; text-decoration: none; text-underline: single;" target="_blank">
Sustainable Development</a><br />
</span> EPISTEMOLOGICAL
CHALLENGES TO SCIENCE AND TECHNOLOGY, by Gilberto Gallopín, October 2004</span></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div align="justify">
<b><span style="font-family: Verdana, sans-serif;">University of Oxford</span></b></div>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<div class="wrapper wrapper-detailed">
<div class="content">
<h2 class="title" style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif; font-size: small;">
<a href="http://www.ox.ac.uk/media/news_stories/2009/090213.html" style="color: #0000cc; text-decoration: none;" target="_blank">
Sir David King warns of climate change conflict</a><span class="meta detailed-meta">
Published: 13 Feb 09</span> </span></h2>
<h2 class="title" style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif; font-size: small;">
<span style="font-weight: 400;"> The Iraq war was
the first ‘resource war’ according to Professor Sir
David King, Director of the Smith School of Enterprise
and the Environment and a former UK government chief
scientist.</span></span></h2>
<div class="title">
<br /></div>
</div>
</div>
<h2 class="title" style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Verdana, sans-serif; font-size: small;">
<a href="http://www.ox.ac.uk/media/news_stories/2009/090210_1.html" style="color: #0000cc; text-decoration: none;" target="_blank">
Climate change may kill the Amazon rainforest</a></span></h2>
<div class="wrapper wrapper-detailed">
<div class="content">
<span style="font-family: Verdana, sans-serif;">
<span class="meta detailed-meta">Published: 10 Feb 09</span> </span><br />
<span style="font-family: Verdana, sans-serif;">
The dieback of the Amazonian forests caused by climate change is not
inevitable but remains a distinct possibility, according to a study led
by the Professor of Ecosystem Science at Oxford University.</span><br />
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"><a href="http://www.wildsingapore.com/news/20070304/070320-3.htm#pa" target="_blank"><span style="text-decoration: none;">Wild
Singapore News</span></a></span></span></div>
</div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><b><span style="color: #cc6666;"> </span>
</b><b> Going nowhere fast: top rivers
face mounting threats </b><br />
<b> Many Major Rivers
in Danger of Drying Out - WWF</b><br />
Story by
Douwe Miedema<br />
<b><span style="color: #cc6666;"> </span> WWF says pollution,
dams threaten rivers</b>
<br />
By Eliane
Engeler, Associated Press Writer</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<b><span style="font-family: Verdana, sans-serif;">WWF <i>for a living planet!</i></span></b></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><a href="http://www.panda.org/about_our_earth/about_freshwater/freshwater_problems/river_decline/10_rivers_risk/la_plata/" target="_blank"><span style="font-weight: 700; text-decoration: none;">About freshwater & rivers´
decline</span></a></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: bold;">
Importance</span><br />
The La Plata basin
is the 2nd largest river basin in South America.<br />
<span style="font-weight: bold;">Location</span><br />
The Rio de la Plata
crosses 5 countries: Paraguay, Brazil, Argentina, Uruguay, and Bolivia. The
river basin has 3 main tributaries, the Paraná, the Paraguay and the</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">
Uruguay Rivers.</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span><a href="http://www.wrm.org.uy/bulletin/77/Congo.html" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;">World Rainforest Movement</span></a><strong><span style="color: maroon;">
</span>Congo, DR: The Inga hydropower project, a betrayal of social promises</strong></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div align="left">
<span style="font-family: Verdana, sans-serif;"><strong> <span style="color: blue;"><a href="http://www.wrm.org.uy/publications/briefings/Ethanol.pdf" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Ethanol from
cellulose: A technology that could spell disaster</span></a></span></strong></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div align="left">
<span style="font-family: Verdana, sans-serif;"><strong>
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/Mekong.pdf" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Tree plantations in
the Mekong region</span></a></span></strong></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div align="left">
<span style="font-family: Verdana, sans-serif;"><strong>
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/SouthernAfrica.pdf" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Timber Plantations
in Southern Africa</span></a></span></strong></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div align="left">
<span style="font-family: Verdana, sans-serif;"><strong>
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/Western_Central_Africa.pdf" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Oil palm and rubber
plantations in Western and Central Africa</span></a></span></strong></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
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</span></div>
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<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.minesandcommunities.org/article.php?a=9224" target="_blank">
<span style="text-decoration: none;">Chile</span></a></span></b></div>
<div id="content0">
<div class="story">
<h1 align="left" style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif; font-size: small;"> The Turbulent Waters of Pan de Azucar</span></h1>
<div class="meta">
<div align="left">
<span style="font-family: Verdana, sans-serif;"> Published
Date: 05-05-2009 , Type: Report , Source Date: 06-04-2009 </span><span style="font-family: Verdana, sans-serif;">The mining
company, Carmen de Andacollo (owned by Teck Cominco) has polluted the
life of the town of Chepiquilla in Chile's Andacollo region for more
than ten years. See
</span><a href="http://olca.cl/oca/chile/chepiquilla.htm" style="font-family: Verdana, sans-serif;" target="_blank">
http://olca.cl/oca/chile/chepiquilla.htm</a></div>
</div>
<div align="left">
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"><b>Patagonia</b></span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"> </span></div>
</div>
</div>
<span style="font-family: Verdana, sans-serif;"><span class="ContentsTitle"><b>
<a href="http://www.nrdc.org/OnEarth/06fal/patagonia1.asp" name="onEarth_top0" target="_blank">
Patagonia Under Siege</a></b></span><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="onEarth_top0">
<span class="FeatureText"><span style="color: #333333;">by George
Black<br />
</span><span style="color: #333333;">At the remotest tip of South
America lies one of the wildest places on the planet - a wonderland of
snowcapped volcanoes, pristine rainforests, and windswept pampas. Perhaps
Patagonia will become a paradise for ecotourism. Or perhaps it will fall victim
to Chile's voracious appetite for energy. </span></span></a></span><br />
<a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="onEarth_top0"><span style="font-family: Verdana, sans-serif;">
</span></a><span style="font-family: Verdana, sans-serif;"><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="onEarth_top0"></a>
<span class="ContentsTitle"><b>
<a href="http://www.nrdc.org/OnEarth/06fal/waters1.asp" name="onEarth_top0" target="_blank">
Drugging the Waters</a></b></span><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="onEarth_top0">
<span class="FeatureText"><span style="color: #333333;">by
Elizabeth Royte<br />
</span><span style="color: #333333;">As the population ages,
Americans become more and more dependent on their prescription medications. Now
scientists are beginning to wonder: What happens when all those pharmaceuticals
get flushed into the nation's rivers -- and into our drinking water? </span>
</span></a></span><br />
<a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="onEarth_top0"><span style="font-family: Verdana, sans-serif;">
</span></a><span style="font-family: Verdana, sans-serif;"><span class="ContentsTitle"><b><a href="http://www.nrdc.org/OnEarth/06fal/owl1.asp" name="onEarth_top0" target="_blank">The Owl, Spotted</a></b></span><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="onEarth_top0">
<span class="FeatureText"><span style="color: #333333;">by Alison
Hawthorne Deming</span><span style="color: #333333;">One fine day, a poet and a
scientist entered a forest in the Pacific Northwest to observe together the most
iconic of all our threatened species. Here is what they found. </span></span>
</a>
</span><br />
<br />
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<h1 style="margin-bottom: 0; margin-right: -9pt; margin-top: 0; text-align: left;">
<span style="font-family: Verdana, sans-serif;">
<span style="font-size: small;">
religion-online.org</span></span></h1>
<h1 style="margin-bottom: 0; margin-right: -9pt; margin-top: 0; text-align: left;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><b>Full texts by recognized
religious scholars</b></span></span></h1>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<span style="font-weight: 700;">Ecology/Environment </span></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.religion-online.org/listbycategory.asp?Cat=45" style="color: #0000cc;">
<span style="font-weight: 700; text-decoration: none;">
http://www.religion-online.org/listbycategory.asp?Cat=45</span></a> (47 articles)</span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"> <span style="text-align: left;">As countries attempt to close two weeks
of talks today, the atmosphere in Copenhagen has reached a level of
tension difficult to explain to those not here. You’ve seen some of
the headlines by now. The initial sticking points remain the same,
such as China and the United States finding common ground -- or
failing to. The outcome is still unknown.</span></span></div>
<div id="res" style="padding-top: 11px;">
<div class="g">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif;">John Anthony (sent to Ricardo Luis
Plaul <br />
Communications Director, Energy & Climate<br />
<a href="http://www.globalproblems-globalsolutions.org/site/R?i=AbZ-aV_7tARgUvrV8YIuGg.." rel="nofollow" style="color: #0000cc;" target="_blank" title="http://www.globalproblems-globalsolutions.org/site/R?i=AbZ-aV_7tARgUvrV8YIuGg..">
http://www.UNFoundation.org</a><br />
Sent to Emilia Mª Trevisi Foundation by Ricardo Luis Plaul,
Argentina.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">***</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="font-family: Verdana; font-size: 11pt; font-weight: bold; margin: 0in;">
</div>
<br />
<div class="MsoNormal" style="background-color: white; margin-bottom: 0.0001pt; text-align: -webkit-auto;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></div>
<div style="text-align: -webkit-auto;">
<a href="http://elculturaldelasierra.blogspot.com.es/" style="font-family: Verdana; font-size: 11pt; font-weight: bold;">http://elculturaldelasierra.blogspot.com.es/</a></div>
<div style="text-align: -webkit-auto;">
<br /></div>
<div style="text-align: -webkit-auto;">
<b style="font-family: Verdana;">FACEBOOK : </b><span style="font-family: verdana; font-size: 10pt; font-weight: bold;"><a href="http://www.facebook.com/FundacionTrevisi">http://www.facebook.com/FundacionTrevisi</a></span></div>
<br />
<br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
</div>
</div>
Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-82316558356537433922012-05-15T08:01:00.000-07:002012-10-13T11:21:02.303-07:00AUTONOMY - ENVIRONMENTAL ISSUES - DEVELOPED COUNTRIES<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
<br />
<b><span style="font-family: Verdana, sans-serif;"><a href="http://plato.stanford.edu/entries/autonomy-moral/" style="text-decoration: none;" target="_blank">Autonomy</a> (Stanford University)</span></b><br />
<div id="content">
<div id="aueditable">
<h1 style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif; font-size: small;"><br /></span></h1>
<h1 style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif; font-size: small;">Autonomy in Moral and Political Philosophy.
</span></h1>
<div id="pubinfo">
<em><span style="font-family: Verdana, sans-serif;">
First published Mon
Jul 28, 2003; substantive revision Wed Aug 27, 2003</span></em></div>
<blockquote>
<div align="justify">
<span style="font-family: Verdana, sans-serif;">Individual autonomy
is an idea that is generally understood to refer to the capacity to
be one's own person, to live one's life according to reasons and
motives that are taken as one's own and not the product of
manipulative or distorting external forces. It is a central value in
the Kantian tradition of moral philosophy but it is also given
fundamental status in John Stuart Mill's version of utilitarian
liberalism (Kant 1785/1983, Mill 1859/1975, ch. III). Examination of
the concept of autonomy also figures centrally in debates over
education policy, biomedical ethics, various legal freedoms and
rights (such as freedom of speech and the right to privacy), as well
as moral and political theory more broadly. In the realm of moral
theory, seeing autonomy as a central value can be contrasted with
alternative frameworks such an ethic of care, utilitarianism of some
kinds, and an ethic of virtue. In all such contexts the concept of
autonomy is the focus of much controversy and debate, disputes which
focus attention on the fundamentals of moral and political
philosophy and the Enlightenment conception of the person more
generally.</span></div>
<ul>
<li><span style="font-family: Verdana, sans-serif;">1. The Concept of Autonomy
</span><ul>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#BasDis"><span style="color: black; font-family: Verdana, sans-serif;">1.1 Basic Distinctions</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#ConVar"><span style="color: black; font-family: Verdana, sans-serif;">1.2 Conceptual Variations</span></a></li>
</ul>
</li>
<li><span style="font-family: Verdana, sans-serif;">2. Autonomy in Moral Philosophy
</span><ul>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutObjVal"><span style="color: black; font-family: Verdana, sans-serif;">2.1 Autonomy as an Object of Value</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutPat"><span style="color: black; font-family: Verdana, sans-serif;">2.2 Autonomy and Paternalism</span></a></li>
</ul>
</li>
<li><span style="font-family: Verdana, sans-serif;">3. Autonomy in Social and Political Philosophy
</span><ul>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#IdeConSel"><span style="color: black; font-family: Verdana, sans-serif;">3.1 Identity and Conceptions of the Self</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutFouLib"><span style="color: black; font-family: Verdana, sans-serif;">3.2 Autonomy and the Foundations of Liberalism</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutRelationalAut"><span style="color: black; font-family: Verdana, sans-serif;">3.3 Relational Autonomy</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutLibConValEndCon"><span style="color: black; font-family: Verdana, sans-serif;">3.4 Autonomy, Liberalism and Perfectionism</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutPolLib"><span style="color: black; font-family: Verdana, sans-serif;">3.5 Autonomy and Political Liberalism</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#AutJusDem"><span style="color: black; font-family: Verdana, sans-serif;">3.6 Autonomy, Justice and Democracy</span></a></li>
</ul>
</li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#Bib"><span style="color: black; font-family: Verdana, sans-serif;">Bibliography</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#Aca"><span style="color: black; font-family: Verdana, sans-serif;">Academic Tools</span></a></li>
<li><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/autonomy.htm#Oth"><span style="color: black; font-family: Verdana, sans-serif;">Other Internet Resources</span></a></li>
</ul>
<div align="justify">
<br /></div>
</blockquote>
</div>
</div>
<a href="http://site.www.umb.edu/faculty/salzman_g/Strate/Commu/1.htm" target="_blank"><span style="font-family: Verdana, sans-serif;">
<span style="font-weight: 700; text-decoration: none;">
Autonomy and self-determination
</span></span></a><br />
<br />
<span style="font-family: Verdana, sans-serif;">by
Jaime Martínez Luna <<a href="mailto:Jaime%20Luna%20%3Ctioyim@yahoo.com.mx%3E">tioyim@yahoo.com.mx</a>>
</span><br />
<span style="font-family: Verdana, sans-serif;">This page is at
<a href="http://site.www.umb.edu/faculty/salzman_g/Strate/Commu/1.htm">
http://site.www.umb.edu/faculty/salzman_g/Strate/Commu/1.htm</a> </span><br />
<span style="font-family: Verdana, sans-serif;"><i></i>
Translated by <b>George Salzman</b> <<a href="mailto:george.salzman@umb.edu">george.salzman@umb.edu</a>></span><br />
<span style="font-family: Verdana, sans-serif;"> " Perhaps at no moment of our
history have the indigenous peoples been at such a historic juncture, in which
the analysis of our self-determination was the most certain window to guarantee
our survival as peoples, as society. Self-determination has been an eternal
dream of our communities. Some, because of geography, and also organizational
structure, have succeeded in maintaining a certain margin of this self-determination,
which has always resulted in a tense relation with the nation-state". </span>
<br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div align="center">
<b><span style="font-family: Verdana, sans-serif;">Environmental Issues</span></b></div>
<div align="center">
<b><span style="font-family: Verdana, sans-serif;"><br /></span></b></div>
<span style="font-family: Verdana, sans-serif;">
</span><br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protected%20Area.htm" style="color: #2200c1; cursor: pointer; font-weight: 700; text-decoration: none;" target="_self">
Protected Areas</a><b><i><span style="color: red;">
</span></i></b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<blockquote>
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protectedarea1..htm" style="color: #2200c1; cursor: pointer; text-decoration: none;" target="_blank">
Protected Areas (1)</a><i><span style="color: red;">
</span></i><br />
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protectedareas2.htm" style="color: #2200c1; cursor: pointer; text-decoration: none;" target="_blank">
Protected Areas (2)</a><i><span style="color: red;">
</span></i></b></span><br />
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/protectedareas3.htm" style="color: #2200c1; cursor: pointer; text-decoration: none;" target="_blank">
Protected Areas (3)</a><i><span style="color: red;">
</span></i></b></span><br />
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://www.unep-wcmc.org/sites/wh/uvs_nuur.htm" style="color: #2200c1; cursor: pointer; text-decoration: none;" target="_blank">
Protected Areas</a>
<a href="http://www.unep-wcmc.org/sites/wh/uvs_nuur.htm" style="color: #2200c1; cursor: pointer; text-decoration: none;" target="_blank">
Programme</a>
<span style="color: blue;">(4) </span><span style="color: blue;">
</span></b></span><br />
<span style="font-family: Verdana, sans-serif;"><b>
<span style="color: blue;">
<a href="http://www.unep-wcmc.org/protected_areas/index.html" style="color: #2200c1; cursor: pointer;" target="_blank">
<span style="text-decoration: none;">Protected Areas
Programme</span></a></span><span style="color: blue;">
(5)</span></b></span></blockquote>
<span style="font-family: Verdana, sans-serif;">
<span style="color: blue;">
<b> See:
<a href="http://www.fundacionemiliamariatrevisi.com/prese2.htm">
http://www.fundacionemiliamariatrevisi.com/prese2.htm</a></b><br />
<br />
</span>
</span><br />
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</div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>August 2009</b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
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</div>
<span style="font-family: Verdana, sans-serif;">
</span>
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<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>GLOBAL CHANGE TOPICS<br />
Subject: Tropospheric Ozone Chemistry <br />
X-URL:
<a href="http://www.atmosp.physics.utoronto.ca/MAM/plummer.ppt" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">
http://www.atmosp.physics.utoronto.ca/MAM/plummer.ppt</span></a></b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>Tropospheric Ozone Chemistry, by David Plummer. Presented at the GCC Summer
School<br />
Montreal, August 7-13, 2003<br />
</b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>X-URL:
<a href="http://asd-www.larc.nasa.gov/biomass_burn/globe_impact.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">
http://asd-www.larc.nasa.gov/biomass_burn/globe_impact.html</span></a></b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>Cover of the March 1995 edition of Environmental Science and Technology
Global Impact of Biomass Burning<br />
</b>Biomass Burning - A Driver for Global Change. International field
experiments and satellite data are yielding a clearer understanding of this important global source of atmospheric gases and particulates.</span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>Subject: Acta Amazonica - The drought of the century in the Amazon Basin: an
analysis of the regional variation of rainfall in South America in 1926</b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><b>
X-URL:
<a href="http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0044-59672005000200013" style="color: #0000cc; text-decoration: none;" target="_blank">
http://www.scielo.br/scielo.php?script=sci_arttext&pid=S0044-59672005000200013</a>
</b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<div align="left">
<br /></div>
<div align="left">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.hwr.arizona.edu/about/publications/library.html" target="_blank">
<span style="text-decoration: none;">Water resources</span></a></span></b></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<span style="font-weight: 700; text-decoration: none;">Theses and
Dissertations</span><span style="font-size: small;">
</span>
are available for viewing from the HWR Library to HWR students, staff, and
faculty, with exchange of CAT card for viewing privileges</span></div>
<div align="left">
<b><span style="font-family: Verdana, sans-serif;">Environmental Education:
<a href="http://www.nikon.co.jp/main/eng/portfolio/environment/report/2006/eco_e_13.pdf" style="text-decoration: none;">
Awareness Activities </a> </span></b></div>
<div align="left">
<br /></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;">
<a href="http://nigec.ucdavis.edu/" style="font-weight: 700; text-decoration: none;" target="_top">
Global Environmental Change (1)</a></span></div>
<div align="left">
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/globalenvironmentalchange2..htm" style="text-decoration: none;">
Global Environmental Change (</a><span style="color: blue;">2)</span></span></span></div>
<div align="left">
<br /></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;">
Environmental Management (1)</span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;">
In environment management it is difficult to apply concepts like
wilderness, pristine nature, sustainability, ecological region, ecosystem
health, working landscape and biodiversity (14, 15, 16).</span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;">
Environmental Management (2)</span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"> Most principles applied to
the management of ecosystems have been based on the notion of stability <span style="text-decoration: none;"><a class="l" href="http://www.cwac.net/issues.html" style="text-decoration: none;" target="_blank">Environmental Issues</a></span></span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"> Environmental issues have been
Clean <b>
water</b> Action Council's focus since 1985.
A variety of issues affect <b>water</b> quality and quantity.</span></div>
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">Environmental & Architectural
Phenomenology Newsletter</span></span><br />
<span style="font-family: Verdana, sans-serif;"><a href="http://www.arch.ksu.edu/seamon/Seamon_reviewEAP.htm" style="font-weight: 700; text-decoration: none;" target="_blank">David Seamon, editor</a></span><br />
<br />
<b><span style="font-family: Verdana, sans-serif;">
UCL Environmental Change Research Centre - LIMPACS<br />
<a href="http://www.ecrc.ucl.ac.uk/content/view/298/111/1/7/" style="text-decoration: none;" target="_blank">Environmental Change Rresearch Centre</a></span></b><br />
<span style="font-family: Verdana, sans-serif;"><b>
</b></span><br />
<div align="LEFT">
<b style="font-family: Verdana, sans-serif;"><b><b> <a href="http://www.publish.csiro.au/nid/188.htm" style="text-decoration: none;" target="_blank">Chemical Processes of the Environment</a></b></b></b></div>
<b style="font-family: Verdana, sans-serif;"> <a class="pluginBodySide" href="http://www.publish.csiro.au/pid/4050.htm" style="text-decoration: none;" target="_blank">
Global Carbon Cycle</a></b><br />
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b><a href="http://www.eseh.org/conference/archive/first/Abstracts_2001.pdf" style="text-decoration: none;" target="_blank">
European Society for Environmental History</a> </b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> <b></b></b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT" style="display: inline !important;">
<span style="font-family: Verdana, sans-serif;"><b><b> 1st
International Conference</b></b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
<br />
</b></span><br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> 5th-9th
September 2001, StAndrews, Scotland</b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> ABSTRACTS OF PAPERS</b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b> <b></b></b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
</b></span>
<br />
<div align="LEFT" style="display: inline !important;">
<span style="font-family: Verdana, sans-serif;"><b><b>References</b></b></span></div>
<span style="font-family: Verdana, sans-serif;"><b>
<br />
</b>
</span><br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"> <b> 7.
<a href="http://www.cwac.net/issues.html" style="text-decoration: none;">
Clean Water Action Council</a>
</b><br /> <b> </b></span></div>
<div align="LEFT">
<b><span style="font-family: Verdana, sans-serif;"> TIES Conference 2008</span></b></div>
<div align="justify" class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"> 19th Annual Conference of The International Environmetrics Society</span></div>
<div align="justify" class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"> Kelowna British Columbia Canada, June 08-13, 2008<br /> <a href="http://web.ubc.ca/okanagan/msp/TIES2008.html" style="font-weight: 700; text-decoration: none;" target="_blank">The International Environmetrics Society</a> Date: Fri, 19 Oct 2007 14:16:04 -0300</span></div>
<blockquote>
<div align="justify" class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"> Conference Venue<br /> The University of British Columbia
Okanagan<br /> Theme:
Quantitative Methods for Environmental Sustainability<br /><br />Conference Technical Topics Include:<br />* Agro-climate risk<br />* Analysis of extremes<br />* Assessing status and trends<br />* Design and analysis of computer experiments<br />* Environmental reporting and indicators<br />* Environmental risk assessment<br />* Environmental standards<br />* Monitoring, modelling and managing environmental systems<br />* Network design and efficient data collection<br />* Space-time modeling<br />*Applications to biodiversity, climate change, sustainable agriculture, air quality, water quality, soil contamination, energy environmental economics, ecosystem and human health.<br />
<br /> Contact:<br /> Sylvia R. Esterby<br /> Mathematics, Statistics and Physics<br /> Irving K. Barber School of Arts and Sciences<br /> University of British Columbia Okanagan<br /> 3333 University Way<br /> Kelowna, BC Canada V1V 1V7<br /> E-mail:
<a href="mailto:sylvia.esterby@ubc.ca">sylvia.esterby@ubc.ca</a> </span></div>
</blockquote>
<div align="left">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.arch.ksu.edu/seamon/Seamon_reviewEAP.htm" style="text-decoration: none;" target="_blank">Phenomenology, Place, Environment and Architecture</a></span></b></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"><span style="color: black;">
</span><span style="color: black;">Environmental &
Architectural Phenomenology Newsletter</span></span></div>
<div align="left">
<span style="font-family: Verdana, sans-serif;"> <span lang="en-us">
David Seamon, Editor, <i>Environmental & Architectural Phenomenology
Newsletter</i></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span lang="en-us">
<i> </i>
This r</span>eview article introduces the reader to
the nature of phenomenology and reviews phenomenological research dealing
with environmental and architectural concerns. An extensive list of references
is provided at the end of the article<span lang="en-us">. </span>A much-abbreviated
version of this review appears as “A Way of Seeing People and Place:
Phenomenology in Environment-Behavior Research,” published in S. Wapner, J. Demick,T. Yamamoto, and H Minami (Eds.), Theoretical
Perspectives in Environment-Behavior
Research (pp. 157-78).
New York: Plenum, 2000.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-weight: 700;"><span style="font-family: Verdana, sans-serif;">
ABSTRACT</span></span></div>
<blockquote>
<div class="MsoNormal" style="text-align: justify;">
<span style="letter-spacing: -0.15pt;"><span style="font-family: Verdana, sans-serif;">
This review examines the phenomenological approach as it
might be used to explore environmental and architectural issues. After
discussing the nature of phenomenology in broad terms, the review
presents two major assumptions of the phenomenological approach--(1)
that people and environment compose an indivisible whole; (2) that
phenomenological method can be described in terms of a "radical
empiricism."The review then considers three specific phenomenological
methods: (1) first-person phenomenological research; (2) existential-phenomenological
research; and (3) hermeneutical-phenomenological research. Next, the
article discusses trustworthiness and reliability as they can be
understood phenomenologically. Finally, the review considers the value
of phenomenology for environmental design.</span></span></div>
</blockquote>
<b><span style="font-family: Verdana, sans-serif;"><span style="color: #336600;">
<a href="http://www.ehhi.org/" style="text-decoration: none;" target="_blank">
<span style="color: blue;">
Environment & Human Health, Inc.</span></a></span><span style="color: #336600;"></span></span></b><br />
<span style="font-family: Verdana, sans-serif;">
<a href="http://seismo.berkeley.edu/~kirchner/reprints/2003_62_Gaia_conjectures.pdf" style="font-weight: 700; text-decoration: none;" target="_blank">
Environmental Protection</a></span><br />
<b><span style="font-family: Verdana, sans-serif;">
</span></b><br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b>
THE GAIA HYPOTHESIS: CONJECTURES AND REFUTATIONS </b>
by
<span style="font-size: small;">JAMES W.
KIRCHNER</span></span></div>
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;">
</span>
</span><br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;">
Department of Earth and Planetary Science, University of California,
Berkeley, CA 94720-4767, U.S.A., E-mail:
<a href="mailto:kirchner@seismo.berkeley.edu">kirchner@seismo.berkeley.edu</a></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div align="LEFT">
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://informationr.net/ir/7-1/paper112.html" style="text-decoration: none;" target="_blank">
Environmental Scanning</a></b></span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<h1 align="left" style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif; font-size: small;"> Environmental scanning as
information seeking and organizational learning</span></h1>
<h4 align="left" style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Verdana, sans-serif;">
<a href="mailto:choo@fis.utoronto.ca" style="text-decoration: none;">
Chun Wei Choo</a>, Faculty of Information Studies.
University of Toronto, Toronto, Canada</span></h4>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div align="left">
<b><span style="font-family: Verdana, sans-serif;">
Abstract</span></b></div>
<blockquote>
<div align="left">
<span style="font-family: Verdana, sans-serif;">Environmental scanning is the acquisition
and use of information about events, trends, and relationships in an
organization's external environment, the knowledge of which would assist
management in planning the organization's future course of action.
Depending on the organization's beliefs about environmental
analyzability and the extent that it intrudes into the environment to
understand it, four modes of scanning may be differentiated: undirected
viewing, conditioned viewing, enacting, and searching. We analyze each
mode of scanning by examining its characteristic information needs,
information seeking, and information use behaviours. In addition, we
analyze organizational learning processes by considering the sense
making, knowledge creating and decision making processes at work in each
mode.</span></div>
</blockquote>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: left;">
<b><span style="font-family: Verdana, sans-serif;">Developed Countries</span></b></div>
<blockquote>
<blockquote>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
According to the United Nations definition, <b>there is no established
convention for the designation of "developed" and "<span class="hl">developing</span>"
<span class="hl">countries</span> </b>or areas. In common practice,
Japan in Asia, Canada and the United States in North America, Australia
and New Zealand in Oceania, and Western Europe are considered "developed"
regions or areas. In international trade statistics, Israel is also
treated as a developed country; and <span class="hl">countries</span> of
eastern Europe and the former Soviet Union (U.S.S.R.) <span class="hl">
countries</span> in Europe are not included under either developed or
<span class="hl">developing</span> regions." Nowadays the more
comprehensive group of "developed <span class="hl">countries</span>"
also covers the East Asian Tigers (Hong Kong, Singapore, South Korea and
Taiwan). Hong Kong has long been considered developed by the IMF which
grants the formal classification of developed <span class="hl">countries</span>.
Although Hong Kong was handed over to the People's Republic of China
(PRC), which is a <span class="hl">developing</span> country, it is
still considered internationally as separate economic entities (as it
has its own currencies - the Hong Kong Dollar) and a separate political
system according to the Basic Law of Hong Kong. Due to the difference
between its economy and that of mainland China, its territory retain
its own border and custom controls.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial; font-size: 10pt;"><br /></span></div>
</blockquote>
</blockquote>
<div class="MsoNormal" style="background-color: white; margin-bottom: 0.0001pt;">
<span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></div>
<a href="http://elculturaldelasierra.blogspot.com.es/" style="font-family: Verdana; font-size: 11pt; font-weight: bold;">http://elculturaldelasierra.blogspot.com.es/</a><br />
<br />
<b style="font-family: Verdana;">FACEBOOK : </b><span style="font-family: verdana; font-size: 10pt; font-weight: bold;"><a href="http://www.facebook.com/FundacionTrevisi">http://www.facebook.com/FundacionTrevisi</a></span>Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-68172449574163310182012-05-15T06:52:00.002-07:002012-10-13T11:21:25.335-07:00BOOKS<span style="font-family: Tahoma;">
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<div style="text-align: left;">
<span lang="EN-GB" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">University of Virginia Library Digital Collections</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<span style="font-family: Tahoma, sans-serif; font-size: 12pt;"><a href="http://www.lib.virginia.edu/digital/collections/" target="_blank"><b><span lang="EN-US" style="color: blue; font-family: Arial, sans-serif;">http://www.lib.virginia.edu/digital/collections/</span></b></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<span lang="EN-GB" style="font-family: 'Times New Roman', serif; font-size: 12pt;">UVA is one of the major pioneers in the world of
electronic texts. It archives thousands of texts in a wide variety of languages
and subjects, many of which are freely available online.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></div>
</div>
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<span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.religion-online.org/showbook.asp?title=2074" target="_blank"><b><span lang="EN-US" style="color: #0000cc;">Hannah Arendt: Prophet for our Time by
James M. Campbell</span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">(ENTIRE BOOK)</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">The author
summarizes the thoughts of Hannah Arendt, then uses them as a framework to ask
whether America is slipping into a new kind of totalitarianism.<o:p></o:p></span></div>
</div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.gutenbergdigital.de/gudi/eframes/index.htm" target="_blank"><span lang="EN-US" style="color: blue;">GUTENBERG AND HIS IMPACT</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
</div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> Johann Gutenberg: His Life</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> The Period before Printed
Books</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> Gutenberg's Epoch-Making
Achievement</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
</div>
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> The Impact of Printing</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.cesg.unifr.ch/en/" target="_blank"><span lang="EN-US" style="color: blue;">CESG</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> <o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">Codices Electronici Sangallenses (CESG) – Virtual Library</span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 24pt;"><o:p></o:p></span></b></div>
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The purpose of the “Codices Electronici Sangallenses” (Digital Abbey Library of
St. Gallen) is to provide access to the medieval codices in the Abbey Library
of St. Gallen by creating a virtual library. At the moment, the virtual library
contains</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> <b>251</b> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">manuscripts.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.dylantrigg.com/book.htm" target="_blank"><span lang="EN-US" style="color: blue;">The
Aesthetics of Decay,</span><span lang="EN-US" style="color: windowtext; text-decoration: none;"> </span></a></span></b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.dylantrigg.com/book.htm" target="_blank"><span lang="EN-US" style="color: blue;">by Dylan Trigg</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">In</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><i><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">The Aesthetics of Decay</span></i><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">, Dylan Trigg confronts the remnants from the fallout of post-industrialism
and postmodernism. Through a considered analysis of memory, place, and
nostalgia, Trigg argues that the decline of reason enables a critique of
progress to emerge. In this ambitious work, Trigg aims to reassess the
direction of progress by situating it in a spatial context. In doing so, he
applies his critique of rationality to modern ruins. The derelict factory,
abandoned asylum, and urban alleyway all become allies in Trigg's attack on a
fixed image of temporality and progress. The Aesthetics of Decay offers a model
of post-rational aesthetics in which spatial order is challenged by an
affirmative ethics of ruin.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Verdana, sans-serif; font-size: 13.5pt;"><a href="http://www.puritansermons.com/toc.htm" target="_blank"><span lang="EN-US" style="color: blue;">Fire
and Ice</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Verdana, sans-serif; font-size: 13.5pt;"> Puritan and Reformed Writings</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif; font-size: 12pt;">"This page is intended to make available to a
wider audience thewritings of the Puritans, Scottish Divines and other Reformed
authors.Many of the sermons are in modern language. Featured authors
includeRichard Baxter, Samuel Rutherford, John Flavel, and many others."</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><i><span lang="EN-US">"Reader, remember this: if thy knowledge do not
now affect thy heart, it will at last, with a witness, afflict thy heart; if it
do not now endear Christ to thee, it will at last provoke Christ the more
against thee; if it do not make all the things of Christ to be very precious in
thy eyes, it will at last make thee the more vile in Christ's eyes."</span></i><span lang="EN-US"> </span></span><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Thomas Brooks</span><span style="font-family: 'Times New Roman', serif; font-size: medium;"><o:p></o:p></span></span></div>
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Press</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.gutenberg.org/wiki/Main_Page" target="_blank"><span lang="EN-US" style="color: blue;">Project Gutenberg</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> Project Gutenberg, the first producer of
free electronic books (ebooks).</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> The Project Gutenberg collection was
produced by tens of thousands of volunteers</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> There are nearly 30,000 free books in the
Project Gutenberg Online Book Catalog.</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://muse.jhu.edu/login?uri=/journals/philosophy_and_literature/v028/28.1trigg.html" target="_blank"><span lang="EN-US" style="color: blue;">Schopenhauer
and the sublime Pleasure of Tragedy</span></a></span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">,<b> </b>by Dylan Trigg</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">
Volume 28, Number 1, April 2004, E-ISSN: 1086-329X Print ISSN: 0190-0013</span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> DOI:
10.1353/phl.2004.0018</span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Religion in Europe</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span></b><b><span style="font-family: Tahoma, sans-serif; font-size: 12pt;"><a href="http://www.economist.com/books/displaystory.cfm?story_id=10281443" target="_blank"><span lang="EN-US" style="color: blue;">The
discovery of tolerance</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> It took
time for Europeans to grasp the concept of religious tolerance</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Dec 13th 2007</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Christian history</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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and storytellers</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> Examining
the Bible, and its followers</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Dec 13th 2007</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Books of the year
2007</span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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of the bunch </span></a></span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> History,
politics, music, business, biography, memoir, letters and fiction. There is
something for everyone in this round-up of the year's best books</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Dec 6th 2007</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/" target="_blank"><span lang="EN-US" style="color: blue;">Thouthands
of FULL-TEXT free Books!</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: maroon; font-family: Tahoma, sans-serif; font-size: 13.5pt;">SpringerLink</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">is one of the
world's leading interactive databases for high-quality STM</span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.springerlink.com/journals/"><span lang="EN-US" style="color: blue;">journals</span></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.springerlink.com/book-series/"><span lang="EN-US" style="color: blue;">book
series</span></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.springerlink.com/books/"><span lang="EN-US" style="color: blue;">books</span></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">,</span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.springerlink.com/reference-works/"><span lang="EN-US" style="color: blue;">reference
works</span></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">and the Online Archives Collection. SpringerLink is a
powerful central access point for researchers and scientists.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://books.google.com/books?id=cv7HZ9jRWWIC" target="_blank"><span style="color: blue;">Google Books</span></a></span></b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">An Enemy of the People</span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span></b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.allreaders.com/Board.asp?BoardID=33656" target="_blank"><span lang="EN-US" style="color: blue;">by
Henrick Ibsen</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> "Dr. Stockmann exposes the hidden
shames of the town's health resort when he discovers that the water supply is
contaminated.His brother the mayor uses forces of democratic politics
hypocritically against the doctor in his appeal to honesty and intergrity. The
town's independent news paper, The. Herald together with it's runners cowardly
and hypocritically connieve with the mayor to block yhe truth from leaking out
to the public. The doctor's own townsfolk cruely turn aginst him, his job and
his stay in the town is at stake including any one that supports his move, but
he is more than determined to do the right thing for his society."</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">Kazinda.Naafi, Resident Scholar</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">Emma Goldman,</span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> <i>The Social Significance of the Modern Drama </i></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">(Boston: Richard G. Badger, 1914; The Gorham Press,
Boston, U.S.A.)</span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">
</span></b><b><span style="font-family: Tahoma, sans-serif; font-size: 12pt;">THE SCANDINAVIAN DRAMA: HENRIK IBSEN</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></b></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">
AN ENEMY OF SOCIETY</span></b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span><b><span style="font-family: Tahoma, sans-serif; font-size: 12pt;"><a href="http://sunsite3.berkeley.edu/Goldman/Writings/Drama/enemy.html" target="_blank"><span lang="EN-US" style="color: blue;">http://sunsite3.berkeley.edu/Goldman/Writings/Drama/enemy.html</span></a></span></b><b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"> </span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;">)</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span></b><b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.allreaders.com/Topics/Topic_14885.asp"><span style="color: blue;">Henrick Ibsen Books</span><span style="color: windowtext; text-decoration: none;"> </span></a> </span></b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="color: blue; font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/" target="_blank"><span style="color: blue;">Full Books</span></a></span></b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Abraham-Lincoln-Vol-I-.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">John T. Morse</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Abraham-Lincoln-Vol-I-.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">Abraham Lincoln, Vol. I. by John T. Morse</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Abraham-Lincoln-Vol-II.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">Abraham Lincoln, Vol. II by John T. Morse</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Adventures-of-Huckleberry-Finn-Complete.html"><span style="color: #0000cc; font-family: Tahoma, sans-serif;">Mark
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div style="text-align: left;">
<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/20-000-Leagues-Under-the-Sea.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">Jules Verne</span></a></span></b><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/20-000-Leagues-Under-the-Sea.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">20,000 Leagues Under the Sea by Jules
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<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Adventure-of-the-Devil-s-Foot.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">The Adventure of the Devil's Foot by Sir
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<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Adventure-of-Wisteria-Lodge.html"><span lang="EN-US" style="color: #0000cc; font-family: Tahoma, sans-serif;">The Adventure of Wisteria Lodge by Sir
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Alaeddin-and-the-Enchanted-Lamp.html"><span style="color: #0000cc;">John Payne</span></a></span></b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Alaeddin-and-the-Enchanted-Lamp.html"><span lang="EN-US" style="color: #0000cc;">Alaeddin and the Enchanted Lamp by John Payne</span></a></span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Alarms-and-Discursions.html"><span lang="EN-US" style="color: #0000cc;">G. K. Chesterton</span></a></span></b><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Alarms-and-Discursions.html"><span lang="EN-US" style="color: #0000cc;">Alarms
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Agesilaus.html"><span lang="EN-US" style="color: blue;">Xenophon</span></a></span></b><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Agesilaus.html"><span lang="EN-US" style="color: #99aadd; text-decoration: none;"> </span><span lang="EN-US" style="color: blue;">Agesilaus
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Anabasis.html"><span lang="EN-US" style="color: blue;">Anabasis
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div style="text-align: left;">
<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Apology.html"><span lang="EN-US" style="color: #0000cc;">The Apology by Xenophon</span></a></span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div style="text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Alcibiades-I.html"><b><span lang="EN-US" style="color: #0000cc;">Plato</span></b></a></span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Alcibiades-I.html"><span lang="EN-US" style="color: #0000cc;">Alcibiades
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div style="text-align: left;">
<span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Apology-Also-known-as-The-Death-of-Socrates.html"><span lang="EN-US" style="color: #0000cc;">Apology Also known as The Death of Socrates by Plato</span></a></span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Apocolocyntosis.html"><span style="color: #0000cc; font-family: Tahoma, sans-serif;">Seneca</span></a></span></b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> <o:p></o:p></span></div>
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<span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Apocolocyntosis.html"><span style="color: #0000cc; font-family: Tahoma, sans-serif;">Apocolocyntosis by
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Aspern-Papers-by-Henry-James.html"><span style="color: blue;">Henry James</span></a></span></b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div style="text-align: left;">
<span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Aspern-Papers-by-Henry-James.html"><span lang="EN-US" style="color: #99aadd; font-family: Tahoma, sans-serif; text-decoration: none;"> </span><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">The Aspern Papers, by Henry James</span></a></span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<div style="text-align: left;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Altar-of-the-Dead.html"><span lang="EN-US" style="color: #0000cc;">The
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Ambassadors.html"><span lang="EN-US" style="color: #0000cc;">The Ambassadors by Henry James</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Areopagitica.html"><span lang="EN-US" style="color: blue;">John
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">
</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/Areopagitica.html"><span lang="EN-US" style="color: #99aadd; font-family: Tahoma, sans-serif; text-decoration: none;"> </span><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">Areopagitica by John Milton</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<div style="text-align: left;">
<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><b><span style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Arrow-of-Gold.html"><span lang="EN-US" style="color: blue;">Joseph
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;">
</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/The-Arrow-of-Gold.html"><span lang="EN-US" style="color: #99aadd; font-family: Tahoma, sans-serif; text-decoration: none;"> </span><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif;">The Arrow of Gold by Joseph Conrad</span></a></span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><b><span lang="EN-GB" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/All-s-Well-that-Ends-Well.html"><span style="color: #0000cc;">William Shakespeare</span></a></span></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span lang="EN-US" style="font-family: Arial, sans-serif; font-size: 13.5pt;">
</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><a href="http://www.fullbooks.com/All-s-Well-that-Ends-Well.html"><span lang="EN-US" style="color: #0000cc; font-family: Arial, sans-serif;">All's Well, that Ends Well by William
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-GB" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"> </span><span lang="EN-GB" style="font-family: Tahoma, sans-serif; font-size: 13.5pt;"><span style="color: blue;"><a href="http://www.fullbooks.com/Antony-and-Cleopatra.html">Antony and Cleopatra by William
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></span></div>
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</span>Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-54601360111902543202012-05-15T00:37:00.001-07:002012-10-13T11:22:08.327-07:00EDUCATIONAL GAZETTE<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<b><i><span lang="EN-US" style="background-color: white; color: navy; font-family: 'Script MT Bold'; font-size: 18pt;">Emilia Mª Trevisi Foundation</span></i></b><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;">Number I / </span></b><b><span style="color: blue; font-family: Tahoma, sans-serif; font-size: 12pt;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/index3%20gazatte.htm" target="_blank"><span lang="EN-US" style="color: blue;"> II</span></a></span></b><b><span lang="EN-US" style="color: blue; font-family: Tahoma, sans-serif; font-size: 12pt;"> / </span></b><span style="background-color: white; font-family: Tahoma, sans-serif; font-size: 12pt;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/index4%20gazatte.htm"><b><span lang="EN-US" style="color: blue; text-decoration: none;">III </span></b></a></span><span lang="EN-US" style="font-family: Tahoma, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<b><span style="font-family: Tahoma, sans-serif; font-size: 12pt;"><span style="color: blue;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/indexEducationalGazette.htm">House Organ</a></span> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/fundacion.htm"><span style="color: blue;">Foundation</span></a></span></b><span style="font-family: Tahoma, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><b style="background-color: white;"><span style="font-family: Verdana; font-size: x-small;"> </span></b><span style="background-color: white; font-family: Verdana; font-size: x-small;"><b>Deputy Editing Director</b> Prof. Patricia Lannoó, Montessori School, Collado Villalba, Madrid</span></div>
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<b><span style="font-family: Verdana; font-size: x-small;"> Pro Tempore Project Manager</span></b></div>
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<span style="font-family: Verdana; font-size: x-small;"> Carlos A. Trevisi, Trevisi Foundation, Buenos Aires - Madrid</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><span lang="EN-US"> The U.S. Geological Survey </span></b><span lang="EN-US"><br />
</span><b><span lang="EN-US"> </span></b><a href="http://education.usgs.gov/" target="_blank"><span lang="EN-US" style="color: blue;">The USGS and Science Education</span></a><span lang="EN-US"> </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><span lang="EN-US">The U.S. Geological Survey provides <b>scientific
information intended to help educate the public about natural resources,
natural hazards, geospatial data, and issues</b> that affect
our quality of life. Discover selected online resources, including
lessons, data, maps, and more, to support teaching, learning, education (K-12),
and university-level inquiry and research.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">
Mathematics </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: blue;"> </span><a href="http://www.rbjones.com/rbjpub/philos/maths/faq029.htm" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">The Philosophy of Mathematics</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/matematicashector.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">Mathematic Education in Argentina</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-GB"> </span></b><b><span lang="EN-US"> Illiterates</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: blue;"> </span><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/illiterates.htm"><span lang="EN-US" style="color: blue; text-decoration: none;">How to Eradicate Illiteracy Without Eradicating
Illiterates?</span></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> Education?</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><a href="http://www.fundacionemiliamariatrevisi.com/ingles/PERVERSIONOFEDUCATION.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">Global Neo-liberalism and the
Perversion of Education</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><a href="http://www.springerlink.com/content/66786j36w3866152/fulltext.html" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">Vocations and learning</span></a></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;"> Studies in
Vocational and Professional Education<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">School of Education and Professional Studies (Brisbane-Logan), Griffith
University, Nathan, 4111, Australia<b>. </b></span><b>Stephen Billett</b><br />
<b>Email: </b><a href="mailto:s.billett@griffith.edu.au"><span style="color: blue;">s.billett@griffith.edu.au</span></a><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b> Reviews<br />
</b> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/educationalpolicy.htm" target="_self"><span style="color: blue; text-decoration: none;">Educational Policy</span></a><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> Journal for Critical
Education Policy Studies<br />
</span></b><span lang="EN-US"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/criticalpedagogy.htm"><span lang="EN-US" style="color: blue; text-decoration: none;">Critical Pedagogy</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;"> <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><span lang="EN-US" style="color: blue; text-decoration: none;"><a href="http://etext.virginia.edu/stc/Coleridge/index.html" target="_blank">Coleridge</a></span></b><span lang="EN-US"><o:p></o:p></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBWgQ5jusb_TTdYLDqlXwooIpEM1dxn5Jum8xN2wdxzXhvZQphoUW6M54laJfxP0YS32m1E_W9RtTRxoTSWkHttsaSUopRgLzKKKcLv6cxHOtKg54qEE00ZH7WdZT_-hj_P6BeyCQBJOMR/s1600/Coleridge.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBWgQ5jusb_TTdYLDqlXwooIpEM1dxn5Jum8xN2wdxzXhvZQphoUW6M54laJfxP0YS32m1E_W9RtTRxoTSWkHttsaSUopRgLzKKKcLv6cxHOtKg54qEE00ZH7WdZT_-hj_P6BeyCQBJOMR/s1600/Coleridge.jpg" /></a><span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><span lang="EN-US" style="color: #231f20;"> </span></b><b><span lang="EN-US" style="color: #231f20;">TEXTO Y PAISAJE
EN “THIS LIME-TREE BOWER MY PRISON” DE S.T. COLERIDGE by MARÍA CALVIÑO</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><a href="http://www.uca.edu.ar/esp/sec-ffilosofia/esp/docs-institutos/lit-inglesa/01-calvino.pdf" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">http://www.uca.edu.ar/esp/sec-ffilosofia/esp/docs-institutos/lit-inglesa/01-calvino.pdf</span></a></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US" style="color: #231f20;">
</span></b><b><span style="color: #231f20;">Pontificia Universidad Católica Argentina</span></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="color: #231f20;">
Facultad de Filosofía y Letras</span></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b> <a href="http://www2.uca.edu.ar/esp/sec-ffilosofia/esp/page.php?subsec=institutos&page=lit-inglesa/cuad-lit-inglesa" target="_blank"><span style="color: blue; text-decoration: none;">Instituto de Literatura Inglesa y Norteamericana</span></a></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b> <a href="http://www2.uca.edu.ar/esp/sec-ffilosofia/esp/page.php?subsec=institutos&page=lit-inglesa/resumenes"><span style="color: blue; text-decoration: none;">RESÚMENES</span></a> de
Cuadernos de Literatura Inglesa y Norteamericana <a href="http://www.fundacionemiliamariatrevisi.com/ingles/clin.htm" target="_self"><span style="color: blue; text-decoration: none;">(CLIN)</span></a></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">María Calviño goes over one of the most well-known
poems of Coleridge. </span>The article was edited in "Cuadernos de Literatura Inglesa y
Norteamericana". María Calviño is PH en Letras por la Universidad
Nacional de Córdoba, República Argentina, and Professor of
"Literaturas de habla inglesa" en la Facultad de
Humanidades in the same university.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> <b><span lang="EN-US">The Lost Tools of Learning<br />
<i> </i></span></b><i><a href="http://www.fundacionemiliamariatrevisi.com/ingles/losttoolsoneducation.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">Symposium On Education </span></a></i><b><i><span lang="EN-US"> </span></i></b><span lang="EN-US">By Dorothy L. Sayers (1893-1967)<br />
</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> <b> One-Dimensional
Man</b><br />
<b> </b></span><a href="http://www.marcuse.org/herbert/pubs/64onedim/odm9.html" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">The Catastrophe of Liberation</span></a><span lang="EN-US">, by Herbert Marcuse<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">"To take an (unfortunately fantastic) example:
the mere absence of all advertising and of all indoctrinating media of
information and entertainment would plunge the individual into a traumatic void
where he would have the chance to wonder and to think, to know himself (or
rather the negative of himself) and his society. Deprived of his false fathers
leaders, friends, and representatives, he would have to learn his ABC's again.
But the words and sentences which he would form might come out very differently,
and so might his aspirations and fears.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">To be sure, such a situation would be an unbearable
nightmare.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US" style="color: maroon;">Sections</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><span lang="EN-US"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/PrimaryEducation_.htm"><span lang="EN-US" style="color: blue; text-decoration: none;">Primary Education</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">
NASA Kid´s Club<br />
</span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/secondaryeducation.htm"><span lang="EN-US" style="color: blue; text-decoration: none;">Secondary Education</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> GOOD
NEWS FOR FIFTEEN YEAR OLDS! </span><i><span lang="EN-US" style="color: yellow;"> </span></i><span lang="EN-US"><br />
</span><span lang="EN-US" style="color: blue;"> </span><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/TertiaryEducation.htm"><span lang="EN-US" style="color: blue; text-decoration: none;">Tertiary Education</span></a></span><span lang="EN-US"><br />
<b> </b>The
Chronicle of Higher Education</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><span lang="EN-US"> Gazette </span></span><span style="font-family: Arial, Helvetica, sans-serif;">Publications</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US" style="color: maroon;">Events (2006 / 2007)</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><span lang="EN-US"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Universityconteducation1.htm"><span lang="EN-US" style="color: blue; text-decoration: none;">University Continual Education</span></a><span lang="EN-US"><br />
</span><span lang="EN-US"> </span><a href="http://www.international.ualberta.ca/globaled_events.php?id=201"><span lang="EN-US" style="color: blue; text-decoration: none;">Global Education</span></a><b><span lang="EN-US"><br />
</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> Rosa Penna, </span></b><span lang="EN-US">Universidad Católica Argentina (</span><a href="mailto:rpenna@uca.edu.ar"><span lang="EN-US" style="color: blue;">rpenna@uca.edu.ar</span></a><span lang="EN-US">) lectured
on <b><i>A Passage to India</i>:</b> Unions and Ruptures in
Forster´s Novel (with Echoes from Walt Whitman)</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><b><a href="http://www2.uca.edu.ar/esp/sec-ffilosofia/esp/page.php?subsec=institutos&page=lit-inglesa/CVpenna" target="_blank"><span style="color: blue; text-decoration: none;">Prof. Rosa Penna</span></a></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www2.uca.edu.ar/esp/sec-ffilosofia/esp/page.php?subsec=institutos&page=lit-inglesa/cuad-lit-inglesa" target="_blank"><b><span style="color: blue; text-decoration: none;">UCA: Facultad de Filosofía y letras. Publicaciones</span></b></a><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b> <a href="http://www2.uca.edu.ar/esp/sec-ffilosofia/esp/page.php?subsec=institutos&page=lit-inglesa/lit-inglesa" target="_blank"><span style="color: blue; text-decoration: none;">Instituto de Literatura Inglesa y Norteamericana</span></a></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b> Prof. Rosa Penna is
a collaborator of Emilia María Trevisi Foundation</b><o:p></o:p></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US" style="color: maroon;">Music</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US" style="color: navy;"> </span></b><span style="color: navy;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/ORGAN,%20BACH%20AND%20JAZZ.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">Organ, Bach and Jazz</span></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: blue;"> </span><a href="http://www.gustavholst.info/compositions/listing.php?work=18" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">The Music of Gustav Holst</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: blue;"> </span><a href="http://www.nottinghamphilharmonic.co.uk/notes/HTP.html"><span lang="EN-US" style="color: blue; text-decoration: none;">N</span></a><a href="http://www.nottinghamphilharmonic.co.uk/notes/HTP.html" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">ottingham Philharmonic</span></a><a href="http://www.nottinghamphilharmonic.co.uk/notes/HTP.html"><span lang="EN-US" style="color: blue; text-decoration: none;"> Orchestra</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><span lang="EN-US" style="color: blue;"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/music.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">The Royal
Philarmonic Orchestra of London</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><span lang="EN-US">(Victor Pellegrini and Juan Cerro -guitar; José Menese -lyrics)
García Lorca</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US" style="color: maroon;">General Information</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">
Globalization </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: blue; text-decoration: none;"><b> </b><a href="http://www.colorado.edu/IBS/PEC/gadconf/papers/mittelman.html" target="_blank">Globalization: An Ascendant Paradigm?</a></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><a href="http://www.resurgence.org/resurgence/issues/shiva202.htm" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">Globalization and Poverty</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> Higher
Education Around the World</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">
World Wide Colleges and Universities</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><span lang="EN-US"> </span><a href="http://www.globaled.us/wwcu/index.html" target="_blank"><span lang="EN-US" style="color: blue; text-decoration: none;">The Center for Global Education</span></a><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/universitycampus.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">University
Campus </span></a><span lang="EN-US"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> Overseas
Bilingual Schools </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><a href="http://www.ncaction.org.uk/subjects/citizen/targets.htm" target="_self"><span lang="EN-US" style="color: blue; text-decoration: none;">About the Citizenship Attainment
Target</span></a></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">
National Curriculum in Action</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US">
Key Stages 1,2,3 and 4</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><b><span lang="EN-US"> </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> European
Projects </span></b><b><span lang="EN-US" style="color: blue; text-decoration: none;"> <a href="http://www.imss.fi.it/istituto/eproeuro.html">Institute and
Museum of History of Science</a></span></b><span lang="EN-US"><br />
</span><b><span lang="EN-US"> </span></b><b><a href="http://brunelleschi.imss.fi.it/michaelofrhodes/"><span lang="EN-US" style="color: blue; text-decoration: none;">Michael of Rhodes</span></a></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> </span></b><b><a href="http://www.imss.firenze.it/espo/eatelier.html"><span lang="EN-US" style="color: blue; text-decoration: none;">Educational Activities</span></a></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="EN-US"> A Parents' Guide<br />
</span></b><b><a href="http://www.kingston.gov.uk/a_parents__guide_06-11.pdf"><span lang="EN-US" style="color: blue; text-decoration: none;">Special Education Needs</span></a></b><b><span lang="EN-US"> (2006-2007)</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> The <b>Royal Borough of Kingston upon Thames </b>believes that all
residents of this borough, along with other users of its services,</span></span><span style="font-family: Arial, Helvetica, sans-serif;"> are entitled to fair and equal access to the full range of its services. It
does not tolerate discrimination in any form and actively looks</span><span style="font-family: Arial, Helvetica, sans-serif;"> to identify where there is discrimination and to make the necessary changes to
stop it.</span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"> </span><b><span lang="EN-US"> The History and Philosophy of Science,
Technology and Medicine</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<b><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="line-height: 115%;"> </span><span style="line-height: 115%;"><span lang="EN-US" style="color: blue; text-decoration: none;"><a href="http://www.imss.fi.it/~tsettle/index.html">A Selection of Web and other Sources</a></span></span></span></b><br />
<b><span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><br /></span></span></b>
<br />
<div style="text-align: center;">
<span style="font-size: large;"><span style="color: maroon; font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/index2%20gazatte.htm" style="text-decoration: none;" target="_blank">Educational Gazette </a></span><span style="font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/indexEducationalGazette.htm" style="text-decoration: none;">nº. I</a> /</span><span style="color: blue; font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/index3%20gazatte.htm" style="text-decoration: none;" target="_blank"> II</a></span><span style="font-family: Verdana;"> <span style="color: blue;">/</span></span><span style="color: blue; font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/index4%20gazatte.htm" style="text-decoration: none;" target="_blank"> III</a></span></span>
</div>
<b><span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><br /></span></span></b>
<b><span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;">-------------------------------------------------------------------</span></span></b><br />
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b> "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></span></div>
<div style="text-align: -webkit-auto;">
</div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in;">
<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><a href="http://elculturaldelasierra.blogspot.com.es/">http://elculturaldelasierra.blogspot.com.es/</a></span><br />
<br /></div>
<b style="font-family: Verdana; text-align: -webkit-auto;">FACEBOOK : </b><span style="font-family: verdana; font-weight: bold; text-align: -webkit-auto;"><a href="http://www.facebook.com/FundacionTrevisi">http://www.facebook.com/FundacionTrevisi</a></span></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-83313305840679774422012-05-14T08:38:00.000-07:002012-10-13T11:22:28.023-07:00EDUCATION (III)<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoTitle">
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b>
<span lang="en-gb">A BIT OF EVERYTHING </span></b><span lang="en-gb">by Patricia
Lannoó</span></span></div>
<div class="MsoTitle">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="en-gb">
<b> </b></span><b><span lang="en-gb">British Curriculum,
Year V</span></b></span></div>
<div class="MsoTitle">
<span lang="en-gb"><span style="font-family: Arial, Helvetica, sans-serif;">
<b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/year5abitofevry.htm" target="_blank">
http://www.fundacionemiliamariatrevisi.com/ingles/year5abitofevry.htm</a></b></span></span></div>
<blockquote>
<div class="MsoTitle">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<span lang="EN-GB">A KIDNAPPED SANTA CLAUS</span></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">TEST
</span>Ancient
Greece</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>
<span lang="EN-GB">Ghost Riddles<br />
</span></b>
<span lang="EN-GB" style="font-weight: 700;">Monster
Riddles </span></span></div>
<div align="left" class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">
<span lang="EN-GB" style="font-weight: 700;">Skelton
Riddles </span></span></div>
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<span lang="EN-GB" style="font-weight: 700;"><span style="font-family: Arial, Helvetica, sans-serif;">
Two Limericks</span></span></div>
<h2 style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"><span lang="EN-GB">
Good Company, <span style="font-weight: 400;">by
</span></span>
<span lang="EN-GB" style="font-weight: 400;">
Leonard Clark</span></span></h2>
<div align="left" class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="en-gb" style="font-weight: 700;">
YEAR 5</span><span lang="EN-GB" style="font-weight: 700;">:
Objectives for Reports</span></span></div>
</blockquote>
<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.tes.co.uk/article.aspx?storycode=6013022" style="color: blue; font-weight: 700; text-align: left; text-decoration: none;" target="_blank">Teaching Skills</a></span><br />
<h3 style="margin-bottom: 0px; margin-top: 0px;">
<span lang="EN"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;"> Teaching
skills: ways to help improve teacher’s effectiveness</span></span></h3>
<h1 style="margin-bottom: 0px; margin-top: 0px;">
<span lang="EN" style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">
The seven secrets behind great teaching</span></span></h1>
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;"> <b><a href="http://www.artcyclopedia.com/hot/women-artists-of-the-renaissance.html" style="color: #1111cc; text-decoration: none;" target="_blank">Slideshow: Women
Artists of the Renaissance</a></b></span></div>
<div class="encuadre">
<div class="midCabecera">
<div class="contenido">
<div class="filaCajas">
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<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;">
</span></span><br />
<div style="text-align: left;">
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://www.artcyclopedia.com/artists/carpaccio_vittore.html" style="background-color: white; color: blue; font-weight: 700; text-decoration: none;" target="_blank"><em style="background-color: white; color: blue; font-style: normal; font-weight: 700; text-decoration: none;"><span lang="EN-US" style="color: #2200c1;">Vittore Carpaccio</span></em><span lang="EN-US" style="background-color: white; color: blue; font-weight: 700; text-decoration: none;">
Online</span></a></span></span></div>
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<b><span lang="EN-US"><a href="http://www.artcyclopedia.com/mostpopular.html" style="color: blue; text-decoration: none;" target="_blank">The
most popular artist searches</a></span></b></div>
<div class="MsoNormal">
<i>
<span lang="EN-US">
<b> The most
popular artist searches last month: a
not-to-be-taken-too-seriously
measurement</b>
of which famous artists have the
greatest "mindshare" in our collective
culture.</span></i></div>
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Pablo
Picasso</a> </span></div>
</td>
<td style="padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><div align="center" class="MsoNormal" style="text-align: center;">
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<a href="http://www.artcyclopedia.com/artists/goya_francisco_de.html" style="color: blue; font-weight: 700; text-decoration: none;" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">
Goya</span></a></div>
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<td style="padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><div align="center" class="MsoNormal" style="text-align: center;">
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<td style="padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><div class="MsoNormal">
<a href="http://www.artcyclopedia.com/artists/fish_janet.html" style="color: blue; font-weight: 700; text-decoration: none;" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">
Janet
Fish</span></a></div>
</td>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<td style="padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"></td><td style="padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><div class="MsoNormal">
<a href="http://www.artcyclopedia.com/artists/manet_edouard.html" style="color: blue; font-weight: 700; text-decoration: none;" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">Edouard
Manet</span></a><br />
<br /></div>
</td>
<td style="padding-bottom: 0cm; padding-left: 0cm; padding-right: 0cm; padding-top: 0cm;"><div align="center" class="MsoNormal" style="text-align: center;">
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<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div align="center" class="MsoNormal">
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span>
<span class="right"><br /></span>
<span class="right"><br /></span>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="article2" style="font-weight: 700;">Art
Nouveau: Europeana's
First Virtual Exhibition</a></span></span></div>
</div>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;">
</span></span>
<br />
<div class="encuadre">
<div class="midCabecera">
<div class="contenido">
<div class="filaCajas">
<div class="dosTercios noBorderOnLeft">
<div class="actualidad">
<div class="row">
<div style="text-align: justify;">
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://app.e2ma.net/app/view:CampaignPublic/id:1403149.6789686617/rid:a22b3ffc883d565dc291c9b8f08ba49f#top" style="color: #1111cc;" target="_blank">
https://app.e2ma.net/app/view:CampaignPublic/id:1403149.6789686617/rid:a22b3ffc883d565dc291c9b8f08ba49f#top</a></span></span></div>
<div style="text-align: justify;">
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;">From domestic
furnishings and
decorative art to
architecture and
advertising, the curved
lines and floral themes
of
<a href="http://e2ma.net/go/6789686617/208311082/215368568/1403149/goto:http://europeana.eu/portal/brief-doc.html?start=1&view=table&query=%22art+nouveau%22" rel="Art Nouveau" style="color: #ff0066; text-decoration: none;" target="_blank" title="Art Nouveau">
Art
Nouveau</a>
- also known as
<a href="http://e2ma.net/go/6789686617/208311082/215368569/1403149/goto:http://europeana.eu/portal/brief-doc.html?start=1&view=table&query=Stile+Liberty" rel="Stile Liberty" style="color: #ff0066; text-decoration: none;" target="_blank" title="Stile Liberty">
Stile
Liberty</a>
or
<a href="http://e2ma.net/go/6789686617/208311082/215368570/1403149/goto:http://europeana.eu/portal/brief-doc.html?start=1&view=table&query=jugendstil" rel="Jugendstil" style="color: #ff0066; text-decoration: none;" target="_blank" title="Jugendstil">
Jugendstil</a>
- swept through every
European capital around
1900, bringing a fresh
elegance to urban life.
</span></span></div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<span class="right"><span style="font-family: Arial, Helvetica, sans-serif;">
</span></span></div>
</div>
</div>
</div>
</div>
</div>
</div>
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;"> <a href="http://plato.stanford.edu/entries/feminist-sex-markets/" style="font-weight: 700; text-decoration: none;">Feminist Perspectives on Sex Markets</a></span></div>
<div id="content">
<div id="aueditable">
<ul>
<li>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles3.htm#Por" style="text-decoration: none;" target="_blank">1.
Pornography</a> </span></b></div>
</li>
<li>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles3.htm#Pro" style="text-decoration: none;" target="_blank">2.
Prostitution</a> </span></b></div>
</li>
<li>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles3.htm#NewDir" style="text-decoration: none;" target="_blank">3.
New Directions</a> </span></b></div>
</li>
<li>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles3.htm#Bib" style="text-decoration: none;" target="_blank">
Bibliography</a> </span></b></div>
</li>
<li>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles3.htm#Oth" style="text-decoration: none;" target="_blank">Other
Internet Resources</a> </span></b></div>
</li>
<li>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles3.htm#Rel" style="text-decoration: none;" target="_blank">Related
Entries</a></b> </span></div>
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<td nowrap="" style="padding-bottom: 1.5pt; padding-left: 1.5pt; padding-right: 1.5pt; padding-top: 1.5pt;" valign="top"><div class="MsoNormal">
<b><span style="font-family: Arial, Helvetica, sans-serif;">James Alison</span></b></div>
</td>
<td style="padding-bottom: 1.5pt; padding-left: 1.5pt; padding-right: 1.5pt; padding-top: 1.5pt;" valign="top"><div class="MsoNormal">
<a href="http://www.religion-online.org/showarticle.asp?title=3424" style="color: blue;" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">
Violence Undone(1407)</span></a></div>
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<tbody>
<tr>
<td><span style="font-family: Arial, Helvetica, sans-serif;">James Alison has lectured and
taught throughout the U.S., the United Kingdom and Latin
America. His books include <u>The Joy of Being Wrong</u>, <u>
Fragments Catholic and Gay</u> and <u>Raising Abel</u> and <u>
Undergoing God</u>. They present central Christian claims as
deeply engaged with the Catholic theological tradition. This
article appeared in <i>The Christian Century</i>, September 5,
2006 pp. 30-35. Copyright by the Christian Century Foundation;
used by permission. Current articles and subscriptions
information can be found at
<a href="http://www.christiancentury.org/">
www.christiancentury.org.</a>
This material was prepared for Religion Online by Ted and Winnie
Brock.</span></td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<b><span style="font-family: Arial, Helvetica, sans-serif;"> </span></b><br />
<div align="justify">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;">
<a href="http://sustsci.harvard.edu/ists/docs/gallopin_epistem0410_bgpaper.pdf" style="color: blue; text-decoration: none;" target="_blank">
Sustainable Development</a><br />
</span> EPISTEMOLOGICAL CHALLENGES TO SCIENCE AND TECHNOLOGY, by
Gilberto Gallopín, October 2004</span></div>
<div align="justify">
<br /></div>
<div align="justify">
<b><span style="font-family: Arial, Helvetica, sans-serif;">University of
Oxford</span></b></div>
<div align="justify">
<br /></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="wrapper wrapper-detailed">
<div class="content">
<h2 class="title" style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif;">
<span style="font-size: small;"><a href="http://www.ox.ac.uk/media/news_stories/2009/090213.html" style="color: #0000cc; text-decoration: none;" target="_blank">
Sir David King warns of climate change conflict</a><span class="meta detailed-meta">
Published: 13 Feb 09</span> </span></span></h2>
<h2 class="title" style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif;">
<span style="font-size: small;"> <span style="font-weight: 400;"> The Iraq
war was the first ‘resource war’ according to Professor Sir David King,
Director of the Smith School of Enterprise and the Environment and a
former UK government chief scientist.</span></span></span></h2>
<div class="title">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
</div>
</div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<h2 class="title" style="margin-bottom: 0px; margin-top: 0px;">
<span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://www.ox.ac.uk/media/news_stories/2009/090210_1.html" style="color: #0000cc; text-decoration: none;" target="_blank"><span style="font-size: small;">
Climate change may kill the Amazon rainforest</span></a></span></h2>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="wrapper wrapper-detailed">
<div class="content">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="meta detailed-meta">Published:
10 Feb 09</span> </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> The dieback of the Amazonian forests
caused by climate change is not inevitable but remains a distinct
possibility, according to a study led by the Professor of Ecosystem
Science at Oxford University. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"> <span style="font-weight: 700;"><a href="http://www.wildsingapore.com/news/20070304/070320-3.htm#pa" target="_blank"><span style="text-decoration: none;">Wild
Singapore News</span></a></span></span></div>
</div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #cc6666;"><b>
</b><b> Going nowhere fast: top rivers
face mounting threats </b></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #cc6666;"><b> Many Major Rivers in Danger of Drying Out - WWF, </b></span> Story by Douwe Miedema</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #cc6666;"><b> WWF says pollution, dams threaten rivers, </b></span> By Eliane Engeler, Associated Press </span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"> <span style="font-weight: 700;"> </span><b><a href="http://www.religion-online.org/listbycategory.asp?Cat=73" target="_blank">Abortion</a></b></span></div>
<ol>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><b>
<a href="http://www.religion-online.org/showarticle.asp?title=1677" target="_blank">
<span style="text-decoration: none;">A Question of Catholic Honesty by Daniel
C. Maguire</span></a><u> </u></b>
</span><span style="font-family: Arial, Helvetica, sans-serif;">Abortion is always tragic, but the tragedy
of abortion is not always immoral. Hand-wringingly sensitive to divergent
views, the Catholic bishops give all sides a hearing, even the winnable
nuclear war hypothesis -- a position they themselves find abhorrent, but
change the topic to abortion, and nothing is the same. </span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><b>
<a href="http://www.religion-online.org/showarticle.asp?title=1919" target="_blank">
<span style="text-decoration: none;">Abortion and Moral Consensus: Beyond
Solomon’s Choice by Madonna Kolbenschlag</span></a> </b>
</span><span style="font-family: Arial, Helvetica, sans-serif;">Some churchmen and politicians are so
intransigent on the issue of abortion, over which men have no physical
control, and so tolerant of killing in war, over which men have always had
control. </span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.religion-online.org/showarticle.asp?title=1431" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Abortion and Theology
by Martin E. Marty</span></a></span> </li>
</ol>
<div>
<br /></div>
<div>
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></span></div>
<div style="text-align: -webkit-auto;">
</div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in;">
<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><a href="http://elculturaldelasierra.blogspot.com.es/">http://elculturaldelasierra.blogspot.com.es/</a></span><br />
<br /></div>
<b style="font-family: Verdana; text-align: -webkit-auto;">FACEBOOK : </b><span style="font-family: verdana; font-weight: bold; text-align: -webkit-auto;"><a href="http://www.facebook.com/FundacionTrevisi">http://www.facebook.com/FundacionTrevisi</a></span></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-1198106122374516322012-05-14T07:27:00.003-07:002012-10-13T11:22:50.757-07:00EDUCATION (II)<div style="text-align: center;">
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small; text-align: start;"><b><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html" style="text-align: start;">GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</a></b></span><br />
<span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small; text-align: start;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
<br />
<span style="font-family: Verdana, sans-serif;"><b style="text-align: justify;"><span style="color: maroon;">Education</span>
</b><span style="text-align: justify;">(See</span><span style="text-align: justify;"><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/education1.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> Education</a>)</span></span><br />
<span style="font-family: Verdana, sans-serif; text-align: justify;"><br /></span></div>
<div style="text-align: center;">
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: 700;">Almost one-in-10 primary schools
in UK could be closed or taken over amid growing concerns
over “chronic” under-performance in English and maths, according
to official league tables published today.</span></div>
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;">
</span>
<br />
<div style="margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;"><a href="http://www.telegraph.co.uk/education/">
http://www.telegraph.co.uk/education/</a> </span></div>
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;">
</span>
<br />
<div style="color: #666666; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: 700;">British Schools curricula (compare Spanish school´s
performances)</span></div>
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;">
</span>
<br />
<div style="color: #404040; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;">The latest primary school league tables show children's test performance in
English and maths taken in the final year of primary school in England.</span></div>
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;">
</span>
<br />
<div style="margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-family: Verdana, sans-serif; font-weight: 700;"><a href="http://www.telegraph.co.uk/education/leaguetables/8956815/Primary-school-league-tables-compare-your-schools-performance.html">
http://www.telegraph.co.uk/education/leaguetables/8956815/Primary-school-league-tables-compare-your-schools-performance.html</a>
</span></div>
<span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700;">
</span>
</span><br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="color: red;"><i><b>NEW! </b></i></span>
<b><a href="http://www.uberbin.net/archivos/rants/paradox-of-choice-barry-schwartz.php" style="color: #2200cc;" target="_blank"><span style="color: #2200cc; text-decoration: none;"><span style="color: blue;">THE PARADOX OF CHOICE</span></span></a></b> de Barry Schwartz
<b>(<span style="color: red;">Video</span>)</b></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="color: red;"><i><b>NEW! </b></i></span>
<a href="http://video.google.com/videoplay?docid=-9133846744370459335" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">DO SCHOOLS KILL CREATIVITY?</span></a>
(Video) <span style="color: red;"> Brilliant!</span></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>
<span style="text-decoration: none;"><a href="http://www.coe.ohio-state.edu/whoy/C3%25203Review.ppt">Structure in School</a> </span></b><b>Ohio
State</b></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.bbc.co.uk/history/interactive/timelines/british/index.shtml" target="_blank">
<span style="font-weight: 700; text-decoration: none;">British History Timeline</span></a> </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> </span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
University of Viterbo</span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <a href="http://www.mcspecialeducation.com/assets/pdfbrochures/13ebdsyl.doc" style="text-decoration: none;" target="_blank">
<b> Special Education.</b></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span lang="EN-US"> Thirteenth
Annual Institute:</span></b><span lang="EN-US">
Educational and Legal Issues of Educating Children with Emotional and Behavioral
Disabilities</span></span></div>
<div class="center" id="centercontent0">
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
Griffith University, Gold Coast, Australia </span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
Journal for Critical Education Policy Studies</span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>
</b><span style="font-weight: 700;">Gregory Martin</span></span><br />
<span style="font-family: Verdana, sans-serif; font-weight: 700;"><br /></span></div>
<h2 style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small; text-decoration: none;"><span style="font-weight: normal;">1.</span><a href="http://www.jceps.com/?pageID=article&articleID=47" style="text-decoration: none;" target="_blank">Critical Pedagogy as Community Praxis</a></span><span style="font-size: small; font-weight: normal;"> , by
Gregory Martin Dave Hill</span></span></div>
<div style="text-align: left;">
<span style="font-weight: normal;"><span style="font-family: Verdana, sans-serif; font-size: small;"><br /></span></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="font-weight: normal;">2.</span><a href="http://www.jceps.com/index.php?pageID=article&articleID=7" style="text-decoration: none;" target="_blank">Global Neo-Liberalism, the Deformation of Education and Resistance</a><span style="font-weight: normal;">
Jane Mulderrig</span></span></div>
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small; font-weight: normal;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="font-weight: normal;">3.</span><a href="http://www.jceps.com/index.php?pageID=article&articleID=2" style="text-decoration: none;" target="_blank">Consuming education: a critical discourse analysis of social actors in New
Labour’s education policy</a> <span style="font-weight: normal;"> Tristan McCowan</span></span></div>
<div style="text-align: left;">
<span style="font-weight: normal;"><span style="font-family: Verdana, sans-serif; font-size: small;"><br /></span></span></div>
</div>
</h2>
<h2 style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">4. </span><a href="http://www.jceps.com/index.php?pageID=article&articleID=6" style="text-decoration: none;" target="_blank">Participation and Education in the Landless People’s Movement of Brazil</a> </span><span style="font-size: small; font-weight: normal;">
Georgios Grollios Ioannis Kaskaris</span></span></div>
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small; font-weight: normal;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="font-weight: normal;">5. </span><a href="http://www.jceps.com/index.php?pageID=article&articleID=4" style="text-decoration: none;" target="_blank">From socialist - democratic to “Third Way” politics and rhetoric in Greek
education (1997 - 2002)</a><span style="font-weight: normal;"> Joel Kivirauma Risto Rinne Piia Seppänen</span></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small; font-weight: normal;"><br /></span></div>
</div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="font-weight: normal;">6.</span> <a href="http://www.jceps.com/index.php?pageID=article&articleID=5" style="text-decoration: none;" target="_blank">Neo-liberal education policy approaching the Finnish shoreline?</a></span></div>
</div>
</h2>
</div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><a href="http://www.ejbiotechnology.info/content/vol8/issue1/full/12/index.html" style="text-decoration: none;" target="_blank">Globalisation and Learning</a> <i>
<span style="color: red;"> </span>(INVITED ISSUE IN
BIOTECHNOLOGY TEACHING)</i></span></div>
</div>
<span style="font-family: Verdana, sans-serif;"><br />
</span><br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>H.E. Msgr. Marcelo Sánchez Sorondo</b> Chancellor of the Pontifical Academy of Social Sciences
Casina Pio IV / V-00120 Vatican City, E-mail:
<a href="mailto:vati332@acdscience.va">vati332@acdscience.va</a></span></div>
<span style="font-family: Verdana, sans-serif;"><br />
</span><br />
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<b><span style="font-family: Verdana, sans-serif;"><span class="type">
<em style="font-style: normal;">
Shaking up education</em></span>
</span></b></div>
<h2 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: small;">
<a href="http://www.economist.com/world/britain/displaystory.cfm?story_id=10286460" style="text-decoration: none;" target="_blank">
No place for a child </a></span></h2>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b> </b> Doing
less for Britain's allegedly unhappy children might be
the best policy, The Economist,
<span class="date">Dec 13th 2007</span>
</span></div>
</div>
</div>
</div>
</div>
</div>
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: 700;"> </span><br />
<span style="font-family: Verdana, sans-serif; font-weight: 700;"><a href="http://www.iite.ru/img/upload/Digital_Libraris.pdf" target="_blank">
<span style="text-decoration: none;">Digital Libraries in education</span></a>
UNESCO</span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> Exploring the universe of knowledge</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.absoluteastronomy.com/" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Absolute Astronomy</span></a></span></b></div>
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<b><span style="font-family: Verdana, sans-serif;"> Society / Nature / People / Science / History</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> <a href="http://www.perepedro.com/espoir.html" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Akamasoa</span></a></span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <strong>AKAMASOA :
Les objectifs</strong></span></div>
<div class="texte">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> AKAMASOA ( « les bons amis ») est une
association humanitaire malgache qui a été créée par le Père Pedro OPEKA en
1989.</span></div>
<div class="texte" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Elle a pour but
d’assurer la réhabilitation humaine et la réinsertion économique et sociale des
plus pauvres. </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span style="color: maroon;">Art & Architecture</span> </b> </span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.albertiefirenze.it/english/home.htm" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">The Renaissance Man</span></a></span></div>
<div id="contenitore" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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<div id="titolo_titolo" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> Leon Battista Alberti and
the Arts in Florence between Reason and Beauty
</span></div>
</div>
</div>
</div>
</div>
</div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
(In Italian:
<a href="http://www.albertiefirenze.it/home.htm" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">
http://www.albertiefirenze.it/home.htm</span></a>)</span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.arch.ksu.edu/seamon/McCann.htm" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Environmental &
Architectural</span></a></span></div>
<h1 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="color: black; font-family: Verdana, sans-serif; font-size: small;"><span style="font-weight: 400;"> </span>Phenomenology Newsletter</span></h1>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
“<b>On the Hither Side of Depth”:<span lang="en-us"> </span>An
Architectural Pedagogy o<span lang="en-us">f</span> Engagement,</b> by Rachel
McCann (2005)</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span lang="en-us" style="color: #0000cc; font-weight: 700;"> </span>
<span lang="EN-US">
<a href="http://www.arch.ksu.edu/seamon/Dumont.htm" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">
Place as Both Local and Boundary-less </a>
</span></span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif;">
The Puget Sound Commercial Geoduck Industry as an Example, <span style="color: blue;">
by Marion Dumon</span> (spring 2005)</span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif;">
<a href="http://www.arch.ksu.edu/seamon/janz.html" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">Coming
to Place, </a>
<a href="http://www.arch.ksu.edu/seamon/janz.html" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">
<span style="font-weight: 400;">by Bruce Janz</span></a>
(fall 2004)</span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif;"> <a href="http://www.arch.ksu.edu/seamon/malpas.html" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">Place
and Topography: Responding to Carmeron and Stefanovic, </a>
<a href="http://www.arch.ksu.edu/seamon/malpas.html" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">
<span style="font-weight: 400;">by J. E. Malpas</span></a>
(fall 2004)</span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif;">
<a href="http://www.arch.ksu.edu/seamon/stefanovic_malpas.htm" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">Speaking
of Place: In Dialogue with Malpas, </a>
<a href="http://www.arch.ksu.edu/seamon/stefanovic_malpas.htm" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">
<span style="font-weight: 400;">by Ingrid Leman Stefanovic</span></a>
(spring 2004)</span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="font-family: Verdana, sans-serif;">
<a href="http://www.arch.ksu.edu/seamon/cameron_malpas.htm" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">Some
Implications of Malpas' <i>Place and Experience</i> for Place Ethics and
Education, </a>
<a href="http://www.arch.ksu.edu/seamon/cameron_malpas.htm" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank">
<span style="font-weight: 400;">by John I. Cameron</span></a>
(winter 2004)</span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: 700;">
</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<span style="font-weight: 700;">
<a href="http://www.arch.ksu.edu/seamon/Teague.htm" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Rodney Teague</span></a></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b> Intimate Immensity
in the Preschool Playroom:<span lang="en-us"> </span>A Topo-analysis of
Children’s Play</b>, Rodney Teague</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> [...] Bachelard’s conception of space is
very different from the way people typically think of space. He interrogates
space not as mathematical, geometric, scientific, infinite or empty, but
rather as imaginal and poetic. He describes his method as a “recourse to the
phenomenology of the imagination... understood as a study of the phenomenon of
the poetic image when it emerges into the consciousness as a direct product of
the heart, soul and being of [the person]” [...]</span></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span lang="EN-US">
<b>
<a href="http://www.arch.ksu.edu/seamon/Assefa.htm" style="color: #0000cc; text-decoration: none;" target="_blank">
Inside and Outside in Wright's Fallingwater and Aalto's Villa Mairea</a></b><a href="http://www.arch.ksu.edu/seamon/Assefa.htm" style="color: #0000cc; text-decoration: none;" target="_blank">,
</a>by Enku Mulugeta Assefa</span><span lang="EN-US">
(spring 2003)</span></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> The philosopher Karsten Harries writes that
a key task of architecture is “interpreting the world as a meaningful order in
which the individual can find his place in the midst of nature and in the midst
of a community” (Harries 1993, p. 51). <b>Harries argues that, too often,
buildings don’t respond to the needs of human dwelling because they are made
arbitrarily instead of being let to arise out of the real-world requirements of
particular people, places and landsca</b><b>pes.</b></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;">
</span>
<a href="http://www.christusrex.org/" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Christus Rex et Redemptor
Mundi</span></a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;">
</span>
<a href="http://www.christusrex.org/www1/francis/" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Giotto</span></a><span style="font-weight: 700;">
</span>(Ambrogio Bondone, detto) 1267 - 1337</span></div>
<h4 style="margin-bottom: 0px; margin-top: 0px;">
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: 400;"> Giotto has become the symbol of a profound
renewal in the history of Western figurative arts, and of the first radical
renewal since ancient Greece.</span></div>
<span style="font-family: Verdana, sans-serif; font-weight: 400;"><div style="text-align: justify;">
"He converted the art of painting from Greek to Latin and brought in the modern
era" - this is Cennino Cennini's synthesis fifty years after Giotto's death,
underscoring the revolutionary character of Giotto's painting. </div>
</span></h4>
<h4 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
<a href="http://www.christusrex.org/www1/francis/FD-duomo1.jpg" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Duomo of Florence</span></a></span></h4>
<h4 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
<a href="http://www.christusrex.org/www1/francis/upper.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Assisi,
Upper Basilica - Basilica Superiore</span></a></span></h4>
<div style="text-align: justify;">
<span style="color: #0000cc; font-family: Verdana, sans-serif; font-weight: 700; text-decoration: none;"> <a href="http://www.christusrex.org/www1/giotto/scrovegni.html" style="color: #0000cc;" target="_blank">Padova, The Scrovegni Chapel - La Cappella degli Scrovegni</a></span></div>
<div style="text-align: justify;">
<span style="color: #0000cc; font-family: Verdana, sans-serif; font-weight: 700; text-decoration: none;"> <a href="http://www.christusrex.org/www1/giotto/santacroce.html" style="color: #0000cc;" target="_blank">Basilica di
Santa Croce</a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.christusrex.org/www1/sistine/0-Tour.html" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Cappella Sistina</span></a></span></div>
<div style="text-align: justify;">
<span style="color: black; font-family: Verdana, sans-serif;">
<span style="font-weight: 700;"> </span><a href="http://www.christusrex.org/www1/sistine/0s-Sistine.jpg" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;">Sistine
Chapel</span></a></span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<span style="color: black;"> <a href="http://www.christusrex.org/www1/sistine/0-Floor.jpg" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Wall
paintings</span></a> </span></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<span style="color: black;"> <a href="http://www.christusrex.org/www1/sistine/0B-Ceiling.jpg" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Ceiling</span></a></span></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<span style="color: black;"> <a href="http://www.christusrex.org/www1/sistine/40j-E.jpg" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Last
Judgement</span></a></span></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.christusrex.org/www1/sistine/0-Plan.jpg" style="color: #0000cc;"><span style="text-decoration: none;">M</span></a><span style="color: black;"><a href="http://www.christusrex.org/www1/sistine/0-Plan.jpg" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">aster
plan of the Chapel</span></a> </span></span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.arch.ksu.edu/seamon/Wong.htm" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Lin Wong</span></a></span></b></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>
</b><span lang="EN-US" style="font-weight: 700;">
A Phenomenology of Commuting by Bicycle, by Lin Wong</span><span lang="EN-US">
(2005)</span></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span lang="en-us"> </span>
In developing this phenomenology of cycling,
I draw on my 20-minute bike commute between my home and the University of
Toronto’s main library. I supplement my firsthand experiences with commentary
from several popular accounts of cycling in general and urban cycling in
particular. Phenomenology recognizes that the lived meaning of the environment
reveals itself within a holistic context of understanding (Stefanovic 2000, p.
69). As such, I realize that my past experiences as a bike courier influence and
enhance my commuting experience on the same streets that I once rode for my work.</span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="color: maroon;"><b>Religion</b>
</span>(See <b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/religion.htm">
<span style="text-decoration: none;">Religion)</span></a></b></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> <a href="http://www.vatican.va/phome_en.htm" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Vatican</span></a></span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>
All about the Holy See</b> </span></div>
<div style="text-align: justify;">
<b style="color: #0000cc;"><span style="font-family: Verdana, sans-serif;">L´Osservatore Romano</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<b><i><span style="font-family: Verdana, sans-serif;">
Weekly Edition in English 6 May 2009 </span></i></b><br />
<b><i><span style="font-family: Verdana, sans-serif;"><br /></span></i></b></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b style="color: #0000cc;"><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="5" style="color: #0000cc;">Obama in the White House </a> </b><a href="http://www.blogger.com/blogger.g?blogID=4496318716801576502" name="5">One hundred days that didn't shake the
world</a></span></div>
<div style="text-align: left;">
<span style="color: #0000cc; font-family: Verdana, sans-serif; font-weight: 700; text-align: justify; text-decoration: none;"><a href="http://www.biblebelievers.org.au/przion1.htm#INTRODUCTION" style="color: #0000cc; text-align: justify;" target="_blank">The Protocols of Zion</a></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> [...] Of
the <i>Protocols</i> themselves little need be said in the way of introduction.
The book in which they are embodied was first published in the year 1897 by
Philip Stepanov for private circulation among his intimate friends. The first
time Nilus published them was in 1901 in a book called
<a href="http://www.biblebelievers.org.au/truth.htm#2" style="color: #0000cc;">
<i>The Great Within the Small</i></a> and
reprinted in 1905. A copy of this is in the British Museum bearing the date of
its reception, August 10, 1906. All copies that were known to exist in Russia
were destroyed in the Kerensky regime, and under his successors the possession
of a copy by anyone in Soviet land was a crime sufficient to ensure the owner's
of being shot on sight [...]</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<span style="color: #0000af;">
<span style="font-weight: 700;"> <a href="http://www.biblebelievers.org.au/prvisit.htm#VISITING" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Visiting
the Protocols</span></a></span></span></span></div>
<span style="color: #0000cc; font-family: Verdana, sans-serif;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="color: #0000cc;">
<span style="font-weight: 700;"> </span></span>
When an international mass circulation magazine
like The Reader's Digest decides to run an article on the documents generally
known as The Protocols, in which Eric Butler and The League of Rights are
critically mentioned, there must be a purpose. About the same time as The
Reader's Digest article, which basically regurgitates the view that these
documents are either a forgery or a fabrication, the Oxford University Press
released a publication, The Right Road, by Dr. Andrew Moore, senior lecturer in
Australian history at the University of Western Sydney. </span></div>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.aughty.org/pdf/intro_digi_culture_ind.pdf" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">The Digital Cultural
Industry</span></a></span></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> Introduction to 'The (Digital) Cultural Industry', by Geoff Cox, Joasia Krysa &
Anya Lewin</span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> The interaction between culture and economy was famously explored by
Theodor Adorno and Max Horkheimer by the term ‘Kulturindustrie’ (The Culture
Industry) to describe the production of mass culture and power relations between
capitalist producers and mass consumers (1997 [1947])</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="http://www.cambridgesciencepark.co.uk/events/" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Cambridge Science Park</span></a></span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">
This events noticeboard is for announcements about events, conferences, etc that
may be of general interest to the companies working on the Science Park. To add
your event, send the details to
<a class="email" href="mailto:joanne.uttley@bidwells.co.uk">
joanne.uttley@bidwells.co.uk</a></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<br />
<div style="text-align: left;">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b><span style="color: maroon;">Philosophy </span> </b>(See
<b><span style="color: blue;">
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/philosophy.htm" style="text-decoration: none;" target="_blank">
Philosophy) </a></span></b></span></div>
<span style="font-family: Verdana, sans-serif;"><b></b></span><br />
<div style="text-align: justify;">
</div>
<b><span style="font-family: Verdana, sans-serif;">
</span></b>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b>
<a href="http://www.dylantrigg.com/book.htm" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">The Aesthetics of Decay, </span></a></b>
<a href="http://www.dylantrigg.com/book.htm" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">by Dylan Trigg</span></a></span></div>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">In <i>The Aesthetics of Decay</i>,
Dylan Trigg confronts the remnants from the fallout of post-industrialism and
postmodernism. Through a considered analysis of memory, place, and nostalgia,
Trigg argues that the decline of reason enables a critique of progress to
emerge. In this ambitious work, Trigg aims to reassess the direction of progress
by situating it in a spatial context. In doing so, he applies his critique of
rationality to modern ruins. The derelict factory, abandoned asylum, and urban
alleyway all become allies in Trigg's attack on a fixed image of temporality and
progress. The Aesthetics of Decay offers a model of post-rational aesthetics in
which spatial order is challenged by an affirmative ethics of ruin.</span></div>
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<div class="col-left">
<div class="article-list">
<div class="block">
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<em style="font-style: normal;"><span style="font-family: Verdana, sans-serif;"><b><a href="http://muse.jhu.edu/login?uri=/journals/philosophy_and_literature/v028/28.1trigg.html" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Schopenhauer
and the sublime Pleasure of Tragedy</span></a></b>,<b>
</b>by Dylan Trigg</span></em></div>
<div id="container1" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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<h2 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: small;">
Volume 28, Number 1, April 2004, E-ISSN:
1086-329X Print ISSN: 0190-0013
</span></h2>
<h2 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: small;">
DOI: 10.1353/phl.2004.0018</span></h2>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> More about Trigg:
<b>
<span style="letter-spacing: 1px;"> Selected
Essays </span></b></span></div>
<blockquote>
<div style="text-align: left;">
<a href="http://mss.sagepub.com/cgi/content/abstract/2/1/87" style="color: #0000cc; text-align: justify;" target="_blank"><span style="font-family: Verdana, sans-serif; text-decoration: none;"><b>"The Place of Trauma: Memory,
Hauntings, and the Temporality of
Ruins"in <i>Memory Studies</i>,
Vol. 2, Issue: 1, 2009</b></span></a></div>
<div style="text-align: left;">
<a href="http://www.griffith.edu.au/publication/glr/" style="color: #0000cc; text-align: justify;" target="_blank"><span style="font-family: Verdana, sans-serif; text-decoration: none;"><b>"Place Becomes the Law" in <i>
Griffith Law Review</i>, Vol. 17,
Issue: 2, 2008</b></span></a></div>
<div style="text-align: left;">
<a href="http://www.existentialanalysis.co.uk/page22.html" style="color: #0000cc; text-align: justify;" target="_blank"><span style="font-family: Verdana, sans-serif; text-decoration: none;"><b>"Altered Place: Nostalgia,
Topophobia, and the Unreality of
Memory" in <i>Journal for the
Society of Existential Analysis</i>,
Vol. 18, Issue: 1, 2008. </b></span></a></div>
<span style="font-family: Verdana, sans-serif;"><b></b></span><br />
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue;"><a href="http://sac.sagepub.com/cgi/reprint/9/4/418" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">"Furniture Music, Hotel Lobbies, and
Banality: Can we Speak of a
Disinterested Space?" in </span></a>
</span>
<a href="http://sac.sagepub.com/cgi/reprint/9/4/418" style="color: #0000cc;">
<i>
<span style="color: blue;">
<span style="text-decoration: none;">
Space and Culture</span></span></i><span style="color: blue;"><span style="text-decoration: none;">,
Vol. 9: Issue 4, 2006</span></span></a></span></b></div>
<b><span style="font-family: Verdana, sans-serif;">
</span></b>
<br />
<div style="text-align: justify;">
<b><a href="http://www.arch.ksu.edu/seamon/Trigg.htm" style="color: #0000cc;" target="_blank"><span style="font-family: Verdana, sans-serif; text-decoration: none;">"Memories in Site: Towards a Renewed
Understanding of Starbucks" in <i>
Environmental and Architectural
Phenomenology</i>, Vol. 17: Issue
1, 2006</span></a></b></div>
<b><span style="font-family: Verdana, sans-serif;">
</span></b>
<br />
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue;">"</span><span style="color: blue;"><a href="http://www.nakedpunch.com/issues/issue04.htm" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">The
Everyday Uncanny: Cezanne and
Merleau-Ponty on Art" </span></a>
</span>
<a href="http://www.nakedpunch.com/issues/issue04.htm" style="color: #0000cc;">
<span lang="en-gb">
<span style="color: blue;">
<span style="text-decoration: none;">
in </span></span></span></a>
<span style="color: black;">
<a href="http://www.nakedpunch.com/issues/issue04.htm" style="color: #0000cc;" target="_blank">
<span lang="EN-GB">
<span style="color: blue;">
<i>
<span style="text-decoration: none;">
Naked Punch</span></i><span style="text-decoration: none;">
Vol. 1: Issue 4, 2005</span></span></span></a></span></span></b></div>
<b><span style="font-family: Verdana, sans-serif;">
</span></b>
<br />
<div style="text-align: justify;">
<b><a href="http://www.art-architecture.co.uk/insideout_archive/?location_id=18" style="color: #0000cc;" target="_blank"><span style="font-family: Verdana, sans-serif; text-decoration: none;">"Ambiguous Boundaries: Cane Hill and
the Resistance of Space" for <i>
Architecture Week</i>, 2005</span></a></b></div>
<b><span style="font-family: Verdana, sans-serif;">
<span style="color: blue;"></span></span></b>
<br />
<div style="text-align: justify;">
<b><span style="color: blue; font-family: Verdana, sans-serif;"><span style="color: blue;">"</span><span style="color: blue;"><a href="http://www.aber.ac.uk/tfts/journal/archive/trigg.html" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">From
the Divine to the Dissolute:
Schopenhauer and Death in Venice" in
</span></a></span>
<span lang="EN-GB">
<span style="color: blue;"><i>
Consciousness, Literature and the
Arts</i>, Vol. 5: Issue, 1, 2004</span></span></span></b></div>
<b><span style="font-family: Verdana, sans-serif;"><span style="color: blue;">
</span><span style="color: blue;"></span></span></b>
<br />
<div style="text-align: justify;">
<b><span style="color: blue; font-family: Verdana, sans-serif;"><span style="color: blue;">"</span><span style="color: blue;"><a href="http://www.meteoritejournal.com/issue4.html" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">Hegel
and the Pathway to Despair" in
</span></a></span>
<span lang="EN-GB">
<span style="color: white;">
<a href="http://www.meteoritejournal.com/issue4.html" style="color: #0000cc;" target="_blank">
<span style="color: blue;">
<i>
<span style="text-decoration: none;">
Meteorite</span></i><span style="text-decoration: none;">,
Vol.1, Issue 4, 2004</span></span></a></span></span></span></b></div>
<b><span style="color: blue; font-family: Verdana, sans-serif;">
</span></b></blockquote>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> <a href="http://www.arch.ksu.edu/seamon/Walsh_Alexander.htm" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Christopher Alexander´s Theory of Wholeness</span></a></span></b></div>
<div class="Section1">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> EDRA Conference Intensive, Veracruz,
Mexico, 28 May 2008, by <span lang="en-us">Robert
Walsh</span></span></div>
</div>
<div class="Section1">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <b> Walsh
</b>is a licensed architect in California; a design
instructor at Lawrence Technical University in Southfield, Michigan; and a
doctoral student at the University of Michigan’s Taubman College of
Architecture and Urban Planning. Over 16 years beginning in 1988, he studied
and worked with architect Christopher Alexander on an intermittent basis,
first carpentering on an Alexander-designed house; then earning a masters
degree from Berkeley in 1992; and, last, working as an architect in
Alexander’s office.</span></div>
</div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.arch.ksu.edu/seamon/Alexander_Nature%20of%20Order.htm" target="_blank">
<span style="font-weight: 700; text-decoration: none;">The nature of order</span></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="en-us" style="font-family: Verdana, sans-serif;"> Empirical Findings from <i>The Nature of Order, by
Christopher Alexander</i></span></div>
<div class="Section1">
<h3 style="margin-bottom: 0px; margin-top: 0px; text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-size: small;"><span style="font-weight: normal;"><i> </i> </span><span style="font-weight: normal;">Architect,
scientist, and writer Christopher Alexander
is one of the most remarkable thinkers and makers of our time. His many
books include
A Pattern Language (1977), The Timeless Way of Building
(1979), and A Foreshadowing of Twenty-First Century Art: The Color and
Geometry of Very Early Turkish Carpets (1993). This essay is his recent
effort to distill the major discoveries in his masterful four-volume The
Nature of Order (2002-2005), published by the Center for Environmental
Structure in Berkeley, CA.</span></span></h3>
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> Aesthetics</span></b></div>
<blockquote>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Hume-David-aesthetics-Gracyk" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Hume, David</span></a></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Goodman-Nelson-aesthetics-Giovannelli" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Goodman,
Nelson</span></a></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Hegel-Georg-Wilhelm-Friedrich-aesthetics-Houlgate" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Hegel,
Georg Wilhelm Friedrich</span></a></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Gadamer-Hans-Georg-aesthetics-Davey" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Gadamer,
Hans-Georg</span></a></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Japanese-Philosophy-aesthetics-Parkes" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Japanese
Philosophy</span></a></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Plato-aesthetics-Pappas" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Plato</span></a></span></b></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#Wittgenstein-Ludwig-aesthetics-Hagberg" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">
Wittgenstein, Ludwig</span></a></span></b></div>
</blockquote>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <b><span style="color: maroon;">Ecology</span> </b>(See<b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/ecology.htm" style="text-decoration: none;" target="_blank">
Ecology</a> & </b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/water.htm" style="font-weight: 700; text-decoration: none;" target="_self">
Water</a> )</span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.wrm.org.uy/bulletin/77/Congo.html" target="_blank">
<span style="font-weight: 700; text-decoration: none;">World Rainforest Movement</span></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<strong><span style="font-family: Verdana, sans-serif;">
<span style="color: maroon;"> </span>Congo, DR: The
Inga hydropower project, a betrayal of social promises</span></strong></div>
<br />
<div style="text-align: justify;">
<strong><span style="font-family: Verdana, sans-serif;">
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/Ethanol.pdf" target="_blank">
<span style="text-decoration: none;">Ethanol from
cellulose: A technology that could spell disaster</span></a></span></span></strong></div>
<div style="text-align: justify;">
<strong><span style="font-family: Verdana, sans-serif;">
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/Mekong.pdf" target="_blank">
<span style="text-decoration: none;">Tree plantations in
the Mekong region</span></a></span></span></strong></div>
<div style="text-align: justify;">
<strong><span style="font-family: Verdana, sans-serif;">
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/SouthernAfrica.pdf" target="_blank">
<span style="text-decoration: none;">Timber Plantations
in Southern Africa</span></a></span></span></strong></div>
<div style="text-align: justify;">
<strong><span style="font-family: Verdana, sans-serif;">
<span style="color: blue;">
<a href="http://www.wrm.org.uy/publications/briefings/Western_Central_Africa.pdf" target="_blank">
<span style="text-decoration: none;">Oil palm and rubber
plantations in Western and Central Africa</span></a></span></span></strong></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;">
WWF <i>for a living planet!</i></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <span style="font-weight: 700;"> </span>
<a href="http://www.panda.org/about_our_earth/about_freshwater/freshwater_problems/river_decline/10_rivers_risk/la_plata/" target="_blank">
<span style="font-weight: 700; text-decoration: none;">About freshwater & rivers´
decline</span></a></span></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: bold;"> Importance</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> The La Plata basin is the 2nd largest river basin in South America.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <span style="font-weight: bold;">Location</span> The Rio de la Plata crosses 5 countries: Paraguay, Brazil, Argentina,
Uruguay, and Bolivia. The river basin has 3 main tributaries, the Paraná, the
Paraguay and the Uruguay Rivers.</span></div>
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"> <span style="color: #0000cc; text-decoration: none;"><a href="http://www.hwr.arizona.edu/about/publications/library.html" style="color: #0000cc;" target="_blank">Water resources</a></span></span></b><br />
<b><span style="font-family: Verdana, sans-serif;"><br /></span></b></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span><a href="file:///D:/Servidor%20Recuperado/public_html/ingles/educationalarticles2.htm#list" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;">Theses and Dissertations</span></a>
are available for viewing from the HWR Library to HWR students, staff, and
faculty, with exchange of CAT card for viewing privileges</span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <span style="font-weight: 700;"><a href="http://www.wildsingapore.com/news/20070304/070320-3.htm#pa" target="_blank"><span style="text-decoration: none;">Wild
Singapore News</span></a></span></span></div>
<br />
<div class="MsoNormal">
</div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="color: #cc6666;"><b> </b></span><b>Going
nowhere fast: top rivers face mounting threats </b></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b> Many Major Rivers in Danger of Drying Out - WWF </b>Story by Douwe
Miedema</span></div>
<span style="font-family: Verdana, sans-serif;"><b></b></span><br />
<div style="text-align: justify;">
<b><span style="font-family: Verdana, sans-serif;"><b> WWF says pollution, dams threaten rivers</b>
By Eliane Engeler, Associated Press Writer</span></b></div>
<b><span style="font-family: Verdana, sans-serif;">
</span></b>
<br />
<div style="text-align: justify;">
<b><span style="color: maroon; font-family: Verdana, sans-serif;">General</span></b></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span><a href="http://dspace.ucalgary.ca/bitstream/1880/46906/1/Penna.pdf" target="_blank"><span style="font-weight: 700; text-decoration: none;">Protected Areas as
Constructed Organizations</span></a><span style="font-weight: 700;">, </span>by H
J E Penna<b> </b>(See<b> </b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protected%20Area.htm" style="font-weight: 700; text-decoration: none;" target="_self">
Protected Areas</a>) Faculty of Economic Sciences/Universidad de Buenos Aires,
Cordoba 2122/C1120 BUENOS AIRES AAQ/ARGENTINA. Mailing address: Espinosa 1963/C1416 BUENOS AIRES CEQ/ARGENTINA,
e-m: <a href="mailto:hpenna@dm.uba.ar">hpenna@dm.uba.ar</a></span></div>
<span style="font-family: Verdana, sans-serif;"><br />
</span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> "No
political organization effectively exists to give the whole globe visibility,
for unlike nation-states the earth has no external enemy. (164)". "The region,
[...] is far too large to be known directly […] (159) […] "Regions, to the
extent that they lack a solid political base, lack visibility" (163) (Tuan 1975)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b> Commentary, </b>by<b>
<a href="http://www.timothygartonash.com/" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Timothy Garton Ash.</span></a> </b>(See<b>
</b><span style="color: blue;"><b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/economy.htm" style="text-decoration: none;" target="_blank">
Economy</a></b>)</span></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span><a href="http://www.guardian.co.uk/commentisfree/2008/dec/04/garton-ash-china-economy-comment" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;">China's
economic success may soon bring trouble. It would be ours too</span></a><span style="font-weight: 700;">.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span><a href="http://www.guardian.co.uk/commentisfree/2009/jan/01/economics-credit-crunch-recession" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;">2009
brings hard choices over the future of capitalism</span></a><span style="font-weight: 700;">.</span></span><br />
<span style="font-family: Verdana, sans-serif;"><b> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/thirdworldchomsky.htm" style="color: #0000cc;" target="_blank"><span style="text-decoration: none;">The Third World at Home</span></a>,
By Noam Chomsky (1993) </b>(See<b> </b>
<span style="color: blue;"><b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/economy.htm" style="text-decoration: none;" target="_blank">
Economy</a></b>)</span></span></div>
<div style="text-align: left;">
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> Studies of public opinion bring
out other strands. A June 1992 Gallup poll found that 75% of the population do
not expect life to improve for the next generation of Americans--not too
surprising, given that real wages have been dropping for 20 years, with an
accelerated decline under Reaganite </span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">"conservatism," which also managed to extend the cloud over the college-educated.</span><br />
<span style="font-family: Verdana, sans-serif;"><a class="l" href="http://rezwanul.blogspot.com/2003_09_01_archive.html" style="text-decoration: none;" target="_blank"><b>The 3rd world view: 09/01/2003 - 10/01/2003</b></a>
(See<b> </b>
<span style="color: blue;"><b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/economy.htm" style="text-decoration: none;" target="_blank">
Economy</a></b>)</span></span></div>
<div id="res">
<div class="g">
<div class="r" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b> By Joseph E. Stiglit, a Nobel
laureate in economics, is Professor of Economics at Columbia
University and was Chairman of the Council of Economic Advisers ...</b>
</span></div>
<div class="r" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
</div>
</div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.envio.org.ni/articulo/2902" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Latin America in the New
World Order</span></a><span style="font-weight: 700;"> </span><b> </b>(See
<b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/latinamerica.htm" target="_blank">
<span style="text-decoration: none;">Latin America</span></a></b>)</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> A series of
international meetings and seminars held in Latin America and elsewhere in
1990-1991 indicate a common evaluation of the nature of Latin America's crisis,
its dominant tendencies and counter-tendencies, and a constellation of
surprisingly coinciding alternatives. All this takes place at a historical
moment dominated by the crisis of model and theory as well as of an alternative
vision of society and history itself.</span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif; font-weight: 700;"><br /></span></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.agensir.it/pls/sir/V2_S2DOC_A.a_autentication?tema=Quotidiano&oggetto=166412&rifi=&rifp=" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Anno dell´astronomia</span></a><span style="font-weight: 700;">
</span>(See<span style="font-weight: 700;"> </span>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/astronomical.htm" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Astronomical Sites</span></a>)</span></div>
<span style="font-family: Verdana, sans-serif;">
</span>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> A MAGGIO CONVEGNO A
FIRENZE SUL “CASO GALILEO”</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Si terrà a Firenze, dal 26 al 30
maggio, il Convegno internazionale di studi “Il caso Galileo. Una rilettura
storica, filosofica, teologica”, organizzato dall’Istituto Stensen dei gesuiti
di Firenze. L’inaugurazione – è stato annunciato oggi durante la conferenza
stampa di presentazione delle iniziative della Santa Sede per l’Anno
dell’astronomia - si svolgerà il 26 maggio nella basilica di Santa Croce, dove
si trova la tomba di Galileo.</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"><span style="color: maroon;">Past events</span>
</span>(See<span style="font-weight: 700;"> </span>
<b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/conferences.htm" style="text-decoration: none;" target="_blank">
<span style="color: blue;">Conferences, Papers & Courses</span></a></b>)</span></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <a href="http://www.ucalgary.ca/news/uofcpublications/umagazine/fall2007/matheson" style="font-weight: 700; text-decoration: none;" target="_blank">University of Calgary</a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://dspace.ucalgary.ca/stats?level=item&type=access&page=downviews-series&object-id=1880/46906" target="_blank">
<span style="font-weight: 700; text-decoration: none;">Downloads and views</span></a></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> Parks for Tomorrow 2008 - Conference on Parks and Protected Areas</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><b></b></span></div>
<div style="text-align: justify;">
<b><b><span style="font-family: Verdana, sans-serif;"> May 8-13 2008 in Calgary, Alberta Canada</span></b></b></div>
<b><span style="font-family: Verdana, sans-serif;">
</span></b>
<br />
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <a href="http://www.parks4tomorrow.ucalgary.ca/" style="text-decoration: none;" target="_blank">
http://www.parks4tomorrow.ucalgary.ca</a></span></div>
<blockquote>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> <b> Call
for papers</b></span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"> The Departments for Geography, History, and the Faculty of Environmental
Design at the University of Calgary are pleased to invite paper proposals
for "Canadian Parks for Tomorrow 2008".Submissions are strongly encouraged
from interdisciplinary backgrounds that address conservation and management
issues from different angles, including - but not limited to - geography,
environmental sciences, political science, biology, sociology, history,
economics and law.</span></div>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><a href="http://dspace.ucalgary.ca/bitstream/1880/46906/1/Penna.pdf" target="_blank"><span style="font-weight: 700; text-decoration: none;">Protected Areas as
Constructed Organizations</span></a><span style="font-weight: 700;">, </span>
by H J E Penna</span></div>
<div style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Faculty of Economic Sciences/Universidad de Buenos Aires, Cordoba
2122/C1120 BUENOS AIRES AAQ/ARGENTINA. </span><span style="font-family: Verdana, sans-serif;">Mailing address: Espinosa 1963/C1416 BUENOS AIRES CEQ/ARGENTINA, e-m:
</span><a href="mailto:hpenna@dm.uba.ar" style="font-family: Verdana, sans-serif;">hpenna@dm.uba.ar</a></div>
<div style="text-align: left;">
<span style="font-family: Verdana, sans-serif;"><span style="text-align: justify;"> </span><span style="text-align: justify;"> "No
political organization effectively exists to give the whole globe visibility,
for unlike nation-states the earth has no external enemy. (164)". "The
region, [...] is far too large to be known directly […] (159) […] "Regions,
to the extent that they lack a solid political base, lack visibility" (163)
(Tuan 1975)</span></span></div>
<div class="MsoNormal" style="font-family: Tahoma; font-size: small; text-align: left;">
<br /></div>
</blockquote>
<div style="font-size: small; text-align: left;">
<br />
<div class="MsoNormal" style="font-size: medium; margin-bottom: 0.0001pt; text-align: center;">
<div style="text-align: left;">
<div class="MsoNormal" style="background-color: white; margin-bottom: 0.0001pt; text-align: -webkit-auto;">
<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></span></div>
<div style="text-align: -webkit-auto;">
</div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in;">
<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><a href="http://elculturaldelasierra.blogspot.com.es/">http://elculturaldelasierra.blogspot.com.es/</a></span><br />
<br /></div>
<b style="font-family: Verdana; text-align: -webkit-auto;">FACEBOOK : </b><span style="font-family: verdana; font-weight: bold; text-align: -webkit-auto;"><a href="http://www.facebook.com/FundacionTrevisi">http://www.facebook.com/FundacionTrevisi</a></span></div>
</div>
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<br class="Apple-interchange-newline" /></div>
</div>
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</div>
</div>
<div align="center">
<div style="text-align: left;">
<span style="font-family: Tahoma; font-size: x-small;"><b><br /></b></span></div>
</div>
<span style="font-family: Tahoma; font-size: x-small;">
</span>Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-4816956485515012312012-05-14T07:15:00.001-07:002012-10-13T11:26:20.542-07:00EDUCATION ALL OVER THE WORLD (I)<span style="font-family: Tahoma; font-size: x-small;">
<span style="font-family: Verdana; font-size: x-small;">
</span></span><br />
<span style="font-size: large;"></span><a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
<div style="text-align: center;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
<br />
<b style="text-align: -webkit-left;"><span style="color: #0000cc; font-family: Georgia, 'Times New Roman', serif;"><a href="http://www.idrc.ca/es/ev-67863-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">Education</a></span></b><span style="font-family: 'Courier New', Courier, monospace; font-style: italic;"><b>(I)</b></span><br />
<span style="font-family: 'Courier New', Courier, monospace; font-style: italic;"><b><br /></b></span>
<br />
<div style="text-align: justify;">
<span style="background-color: white; font-family: Verdana, Arial, Helvetica, sans-serif; text-align: start;">The connections between education and health are many, and operate both directly and through the intervening variables of economic growth and gender equity. Personal and household (family) income rises with education level. In developed countries, higher education is associated with healthier living conditions (e.g. better housing, exposure to less environmental pollution) and healthier lifestyles <b>[...]</b></span></div>
</div>
<span style="font-size: large;">
</span>
<br />
<div>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.fundacionemiliamariatrevisi.com/whatmakesagreat.htm" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">What
makes a great teacher?</span></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">David Cameron's
proclamation that the Tories will be "brazenly elitist" about the calibre of
candidates entering the teaching profession betrays the fact that he doesn't
know anything about teaching. As a teacher in various comprehensives for the
past 20 years, I have seen many good teachers, and some, it's true, fit the
stereotype that Cameron wants to impose: graduates with good degrees from so-called
"good universities".</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;">
</span></div>
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://www.infed.org/biblio/pedagogy_consumer_society.htm" style="color: #0000cc; font-weight: 700; text-decoration: none;" target="_blank" title="hannah arendt and jean baudrillard: pedagogy in the consumer society">
Hannah Arendt and Jean Baudrillard: Pedagogy in the consumer
society</a> </span></div>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
Hannah Arendt (1906-1975) es considerada una
de los más originales y provocativos filósofos de posguerra</span></b></div>
<div style="text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;"> We are, as it seems, considering not only how
a city, but also a luxurious city, comes into being... Let’s look at a feverish
city… This healthy one isn’t adequate any more, but must already be gorged with
a bulky mass of things. Republic Book II, 372e-373b.</span></div>
<div style="text-align: left;">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<span style="color: red;">We can’t let the terrorists stop us
from shopping. George Bush, September 2001.</span></span></b></div>
<blockquote>
<b><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></b></blockquote>
<ol>
<li style="list-style-type: none;"></li>
<li style="list-style-type: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.religion-online.org/showarticle.asp?title=252" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">
Curriculum in the Public Schools: Can Compromise Be Reached? by Charles L.
Glenn</span></a> </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The author argues that the public
schools ought not teach a value system and a world view contrary to the
beliefs and values of the children's parents.</span></li>
<li style="list-style-type: none;"></li>
<li style="list-style-type: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.religion-online.org/showarticle.asp?title=1990" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">
Falling Behind: An Interview with Jonathan Kozol by Jonathan Kozol</span></a>
</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">There is a general sense that
society no longer intends to bring black and Hispanic children into the
mainstream of society. The public schools today are every bit as segregated
as they were in 1964, in the days of Martin Luther King.</span></li>
<li style="list-style-type: none;"></li>
<li style="list-style-type: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://www.religion-online.org/showarticle.asp?title=702" style="color: #0000cc;" target="_blank">
<span style="font-weight: 700; text-decoration: none;">
Making Schools Work For The Rich And The Poor by Ronald J. Sider</span></a>
</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">The author argues for large
expenditures in public education to remedy the ills of inner-city school.
Money should be spent to experiment both with school vouchers and with other
reforms.</span></li>
<li style="list-style-type: none;"></li>
<li style="list-style-type: none;">
<a href="http://www.religion-online.org/showarticle.asp?title=1991" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;"><span style="font-family: Arial, Helvetica, sans-serif;">The Hopeful Years: Children of the South Bronx by Jonathan Kozol</span></span></a></li>
<li style="list-style-type: none;">
<span style="font-family: Arial, Helvetica, sans-serif;">The more time the author spends
with inner-city children, the less credible and less legitimate large
distinctions between them and other children seem.</span></li>
<li style="list-style-type: none;"></li>
<li style="list-style-type: none;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="text-align: left;"><a href="http://video.google.com/videoplay?docid=-9133846744370459335" style="color: #0000cc;" target="_blank"><span style="font-weight: 700; text-decoration: none;">DO SCHOOLS KILL CREATIVITY?</span></a></span><span style="text-align: left;">
(Video) </span><span style="color: red; text-align: left;"> Brilliant!</span></span></li>
</ol>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span><a href="http://springer.r.delivery.net/r/r?2.1.Ee.2Tp.1gm85N.By9zHa..N.Hhh_.3B9u.bW89MQ__DCXCFQZ0" target="_blank" title="http://springer.r.delivery.net/r/r?2.1.Ee.2Tp.1gm85N.By9zHa..N.Hhh%5f.3B9u.bW89MQ%5f%5fDCXCFQZ0"><span originaltag="yes" style="color: #0000cc; font-family: Arial, Helvetica, sans-serif;" title="http://springer.r.delivery.net/r/r?2.1.Ee.2Tp.1gm85N.By9zHa..N.Hhh%5f.3B9u.bW89MQ%5f%5fDCXCFQZ0"><span style="font-weight: 700; text-decoration: none;">Gender, Learning and
Social Practice</span></span></a><br />
<span originaltag="yes" style="font-family: Arial, Helvetica, sans-serif;">
Gendered Discourses in the Bakery <br />
<b>Klaus Nielsen</b> </span><br />
<span originaltag="yes" style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://springer.r.delivery.net/r/r?2.1.Ee.2Tp.1gm85N.By9zHa..N.Hhi0.3B9u.bW89MQ__CdeYFPL0" target="_blank" title="http://springer.r.delivery.net/r/r?2.1.Ee.2Tp.1gm85N.By9zHa..N.Hhi0.3B9u.bW89MQ%5f%5fCdeYFPL0">
<span originaltag="yes" style="color: #0000cc;" title="http://springer.r.delivery.net/r/r?2.1.Ee.2Tp.1gm85N.By9zHa..N.Hhi0.3B9u.bW89MQ%5f%5fCdeYFPL0">
<span style="font-weight: 700; text-decoration: none;">Policy as Boundary Object:
A New Way to Look at Educational Policy Design and Implementation</span></span></a><br />
<b>Gholamreza Emad & Wolff-Michael Roth</b></span><br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://www.tes.co.uk/article.aspx?storycode=6013022" style="color: blue; font-weight: 700; text-decoration: none; text-underline: single;" target="_blank">
Teaching Skills</a></span></div>
<h3 style="margin-bottom: 0; margin-top: 0;">
<span lang="EN"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">
Teaching skills: ways to help improve teacher’s effectiveness</span></span></h3>
<h1 style="margin-bottom: 0; margin-top: 0;">
<span lang="EN" style="font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">
The seven secrets behind great teaching</span></span></h1>
<div align="left">
<br /></div>
<div align="left">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://www.idrc.ca/es/ev-45682-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Fatal Indifference</span></a>
</span></b></div>
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>
The G8,
Africa, and Global Health</b>
<i>by Ronald Labonte, Ted Schrecker, David Sanders y Wilma Meeus<br />
</i>
University of Cape Town Press/<acronym title="Centro Internacional de Investigaciones para el Desarrollo">IDRC</acronym>
2004<br />
ISBN 1-91971-384-0<br />
e-ISBN 1-55250-130-2<br />
</span></div>
<table border="0" cellpadding="0" cellspacing="0" id="table53">
<tbody>
<tr>
<td bgcolor="#ffffff" id="midcolumn" valign="top" width="100%"><div class="para-flush">
<span style="font-family: Arial, Helvetica, sans-serif;">
For most of the past century, the spread of mysterious, frightening
diseases is something that has occurred mostly in poorer parts of the
planet. Now that it is identified as primarily a ‘Third World’,
especially African, condition, AIDS has briefly managed to make it to
the highest level of political agendas, including the UN Security
Council. But all in all, the G8 countries under scrutiny in this book
have for decades lived as though immune to at least two of the biblical
scourges – famine and pestilence.</span></div>
</td>
</tr>
</tbody></table>
<blockquote>
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>
<a href="http://www.idrc.ca/es/ev-67832-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Globalization, Health and Development:
The Right Prescription?</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67833-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Macroeconomic Policy, Structural
Adjustment and Debt Relief</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67845-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Health and Health Systems</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67863-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Education</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67872-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Nutrition, Food Security and
Biotechnology</span></a></b> 2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67873-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Official Development Assistance</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67874-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Trade and Market Access</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67875-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Environment</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67876-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Equity, Health and NEPAD: A Case Study</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67880-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Promises Kept and Broken, Right or Wrong</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67885-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Epilogue</span></a></b>
2004<br />
<br />
<b>
<a href="http://www.idrc.ca/es/ev-67887-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">References: Part 1.</span></a></b>
2004<br />
<br />
<b>
<a href="http://www.idrc.ca/es/ev-67889-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Appendix 1: G7 and G8 Health-Related
Commitments Matrix: 1999–2001</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67892-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Appendix 2: Data Tables</span></a></b>
2004<br />
<b>
<a href="http://www.idrc.ca/es/ev-67895-201-1-DO_TOPIC.html" style="color: #0000cc;" target="_blank">
<span style="text-decoration: none;">Appendix 3: NEPAD’s Health Commitments</span></a></b>
2004</span></div>
</blockquote>
<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;"><b>
Phenomenology as a Research Method, </b>by Madeleine Rothe</span></span><br />
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<span style="color: blue;">
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/writingasresearch.htm" target="_blank">
<span style="text-decoration: none;"> </span></a> </span>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/writingasresearch.htm" target="_blank">
<span style="text-decoration: none;">Writing as research</span></a></span></b><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><i>
<span lang="EN-GB">
<b>Rothe </b>is a landscape architect. This essay is a revised version of
chapter 4 of her master’s thesis, which examines phenomenologically the process
of becoming at home for 12 residents of the Nyland cohousing community outside
of Denver, Colorado. As illustrated in the figure below, Rothe portrays this
process as a series of seven stages and suggests that purchasing the land for
development (after stage 3) and moving into the community (after stage 5)
provide important external “spurs” for motivating the process onward. A thorough
discussion of this becoming-at-home process is provided in Rothe, 2000.</span></i><span lang="EN-GB"> </span><span lang="EN-US">©
Madeleine Rothe, 2001, 2003.</span></span></div>
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://pm.gc.ca/eng/media.asp?id=2146" target="_blank">
<span style="text-decoration: none;">Canada</span></a></span></b><br />
<h1 class="newsViewTitle" style="margin-bottom: 0; margin-top: 0;">
<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">PM offers full apology on behalf of Canadians for
the Indian Residential Schools system</span></h1>
<div class="newsViewDate">
<span style="font-family: Arial, Helvetica, sans-serif;">11
June 2008, Ottawa, Ontario</span></div>
<br />
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node24.html" name="tex2html194" target="_blank">
<span style="text-decoration: none;">Some Knowledge Capturing
Techniques</span></a>. </span></b><br />
<ul>
<li>
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node25.html" name="tex2html195" target="_blank">
<span style="text-decoration: none;">On-Site Observation (Action
Protocol)</span></a> </span></b></li>
<li>
<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node26.html" name="tex2html196" target="_blank">
<span style="text-decoration: none;">Brainstorming</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node27.html" name="tex2html197" target="_blank">
<span style="text-decoration: none;">Electronic Brainstorming</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node28.html" name="tex2html198" target="_blank">
<span style="text-decoration: none;">Protocol Analysis (Think-Aloud
Method)</span></a> </span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node29.html" name="tex2html199" target="_parent">
<span style="text-decoration: none;">Consensus Decision Making</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node30.html" name="tex2html200" target="_blank">
<span style="text-decoration: none;">Repertory Grid</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node31.html" name="tex2html201" target="_blank">
<span style="text-decoration: none;">Nominal Group Technique (NGT)</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node32.html" name="tex2html202" target="_blank">
<span style="text-decoration: none;">Delphi Method</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node33.html" name="tex2html203" target="_blank">
<span style="text-decoration: none;">Concept Mapping</span></a>
</span></b></li>
<li><b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://turing.une.edu.au/~comp292/Lectures/HEADER_KM_2004_LEC_NOTES/node34.html" name="tex2html204" target="_blank">
<span style="text-decoration: none;">Blackboarding</span></a>
</span></b></li>
</ul>
<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>
<a href="http://www.coe.ohio-state.edu/whoy/C3%25203Review.ppt">
<span style="text-decoration: none;">Structure in School </span></a></b>
</span></div>
<div align="left">
<b><span style="font-family: Arial, Helvetica, sans-serif;">
Ohio State</span></b></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
<br />
<a href="http://www.bbc.co.uk/history/worldwars/" target="_blank">
<span style="font-weight: 700; text-decoration: none;">World Wars</span></a><br />
</span><br />
<blockquote>
<table border="0" cellpadding="0" cellspacing="0" id="table28" style="float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 650px;">
<tbody>
<tr>
<td><table border="0" cellpadding="0" cellspacing="0" id="table29" style="width: 635px;">
<tbody>
<tr>
<td valign="top"><table border="0" cellpadding="0" cellspacing="0" id="table30" style="width: 635px;">
<tbody>
<tr>
<td valign="top" width="635"><table border="0" cellpadding="0" cellspacing="0" id="table31">
<tbody>
<tr>
<td id="leftList" valign="top" width="50%"><table border="0" cellpadding="0" cellspacing="0" id="table32">
<tbody>
<tr>
<td class="bodyTextBlack" valign="top" width="100%"><table border="0" cellpadding="0" cellspacing="0" id="table33">
<tbody>
<tr>
<td valign="top" width="100%"><div class="promoHeader">
<b><span style="font-family: Verdana, sans-serif;">
<a class="main" href="http://www.bbc.co.uk/history/worldwars/wwone/" target="_blank">
<span style="text-decoration: none;">
World War One</span></a></span></b></div>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td></tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<table border="0" cellpadding="0" cellspacing="0" id="table34" style="float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 650px;">
<tbody>
<tr>
<td><table border="0" cellpadding="0" cellspacing="0" id="table35" style="width: 635px;">
<tbody>
<tr>
<td valign="top"><table border="0" cellpadding="0" cellspacing="0" id="table36" style="width: 635px;">
<tbody>
<tr>
<td valign="top" width="635"><table border="0" cellpadding="0" cellspacing="0" id="table37">
<tbody>
<tr>
<td id="rightList" valign="top" width="50%"><table border="0" cellpadding="0" cellspacing="0" id="table38">
<tbody>
<tr>
<td class="bodyTextBlack" valign="top" width="100%"><table border="0" cellpadding="0" cellspacing="0" id="table39">
<tbody>
<tr>
<td valign="top" width="100%"><div class="promoHeader">
<b><span style="font-family: Verdana, sans-serif;">
<a class="main" href="http://www.bbc.co.uk/history/worldwars/wwtwo/" target="_blank">
<span style="text-decoration: none;">
World War Two</span></a></span></b></div>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<table border="0" cellpadding="0" cellspacing="0" id="table40" style="float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 650px;">
<tbody>
<tr>
<td><table border="0" cellpadding="0" cellspacing="0" id="table41" style="width: 635px;">
<tbody>
<tr>
<td valign="top"><table border="0" cellpadding="0" cellspacing="0" id="table42" style="width: 635px;">
<tbody>
<tr>
<td valign="top" width="635"><table border="0" cellpadding="0" cellspacing="0" id="table43">
<tbody>
<tr>
<td id="leftList0" valign="top" width="50%"><table border="0" cellpadding="0" cellspacing="0" id="table44">
<tbody>
<tr>
<td class="bodyTextBlack" valign="top" width="100%"><table border="0" cellpadding="0" cellspacing="0" id="table45">
<tbody>
<tr>
<td valign="top" width="100%"><div class="promoHeader">
<b><span style="font-family: Verdana, sans-serif;">
<a class="main" href="http://www.bbc.co.uk/history/worldwars/genocide/" target="_blank">
<span style="text-decoration: none;">
Genocide Under the Nazis</span></a></span></b></div>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<table border="0" cellpadding="0" cellspacing="0" id="table46" style="float: left; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; width: 650px;">
<tbody>
<tr>
<td><table border="0" cellpadding="0" cellspacing="0" id="table47" style="width: 635px;">
<tbody>
<tr>
<td valign="top"><table border="0" cellpadding="0" cellspacing="0" id="table48" style="width: 635px;">
<tbody>
<tr>
<td valign="top" width="635"><table border="0" cellpadding="0" cellspacing="0" id="table49">
<tbody>
<tr>
<td id="rightList0" valign="top" width="50%"><table border="0" cellpadding="0" cellspacing="0" id="table50">
<tbody>
<tr>
<td class="bodyTextBlack" valign="top" width="100%"><table border="0" cellpadding="0" cellspacing="0" id="table51">
<tbody>
<tr>
<td valign="top" width="100%"><div class="promoHeader">
<b><span style="font-family: Verdana, sans-serif;">
<a class="main" href="http://www.bbc.co.uk/history/worldwars/coldwar/" target="_blank">
<span style="text-decoration: none;">
Cold War</span></a></span></b></div>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</td>
</tr>
</tbody></table>
</blockquote>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
</div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"> <b>bbc.co.uk/history</b></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
</div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-weight: 700;"> </span>
<a href="http://www.bbc.co.uk/history/interactive/timelines/british/index.shtml" target="_blank">
<span style="font-weight: 700; text-decoration: none;">British History Timeline</span></a></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><b>
<a href="http://www.bbc.co.uk/history/british/launch_tl_british.shtml" target="_blank">
<span style="text-decoration: none;">British History</span></a></b></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><b> </b></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: blue;"><b>
<a href="http://www.bbc.co.uk/history/british/architecture_cathedral_03.shtml">
<span style="text-decoration: none;">The Cathedrals of Britain</span></a> </b>
</span>(See<b><span style="color: blue;"> </span></b>
<a href="http://www.fundacionemiliamariatrevisi.com/ingles/Art.htm" style="font-weight: 700; text-decoration: none;" target="_blank">
Art and Architecture</a><span style="color: blue;"> )</span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
</div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><span style="text-decoration: none;"> <a href="http://www.bbc.co.uk/history/historic_figures/wren_christopher.shtml" target="_blank">Christopher Wren</a></span></b></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
</div>
<span style="font-family: Arial, Helvetica, sans-serif;">
</span>
<br />
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>
<a href="http://www.fullbooks.com/The-Advancement-of-Learning.html" style="color: #99aadd; text-decoration: none;">
<span style="color: blue;">The Advancement of Learning, </span></a></b>
<a href="http://www.fullbooks.com/The-Advancement-of-Learning.html" style="color: #99aadd; text-decoration: none;">
<span style="color: black;">By Francis Bacon</span></a> <b>(Full text)</b></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"> Bacon makes, by a sort of exhaustive
analysis, a ground-plan of all subjects of study, as an intellectual map,
helping the right inquirer in his search for the right path. The right path is
that by which he has the best chance of adding to the stock of knowledge in the
world something worth labouring for; and the true worth is in labour for "the
glory of the Creator and the relief of man's estate."<br />
</span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://www.fullbooks.com/An-Account-of-the-Extraordinary-Medicinal.html" target="_blank">
<span style="font-weight: 700; text-decoration: none;">An Account of the Extraordinary Medicinal Fluid, called
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<a href="http://www.fullbooks.com/ABC-s-of-Science.html" target="_blank"><b>
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<div align="left">
<span style="font-family: Arial, Helvetica, sans-serif;">I. The Supreme Power of Nature<br />
II. Astronomy<br />
III. The Solar System<br />
IV. Across the Divide<br />
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VI. Animal Magnetism<br />
VII. Miscellaneous</span></div>
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<table id="table1">
<tbody>
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<td></td>
<td><span style="font-family: Arial, Helvetica, sans-serif;"><span class="Affiliation">School of
Education and Professional Studies (Brisbane-Logan), Griffith University,
Nathan, 4111, Australia</span><strong>.
Stephen Billett</strong><br />
<strong>Email: </strong>
<a href="mailto:s.billett@griffith.edu.au">s.billett@griffith.edu.au</a></span></td>
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Participation and Education in the Landless People’s Movement of Brazil</a></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b> H.E. Msgr.
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</b>
Chancellor of the Pontifical Academy of Social Sciences<br />
Casina Pio IV<br />
V-00120 Vatican City<br />
E-mail: <a href="mailto:vati332@acdscience.va">
vati332@acdscience.va</a> </span><br />
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<em style="font-style: normal;">Shaking up
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<span class="date">Dec 13th 2007</span></span><br />
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<b><span style="font-family: Arial, Helvetica, sans-serif;"> What
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The Confucius
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</span></div>
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<span class="date"><span style="font-family: Arial, Helvetica, sans-serif;">EDUCATION
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<b><span style="font-family: Arial, Helvetica, sans-serif;">
<a href="http://www.sciencepics.com/" style="text-decoration: none;" target="_blank">
Science Pictures and Photos</a></span></b></div>
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<b><span style="font-family: Arial, Helvetica, sans-serif;"> For resources and information
on Science pictures and Science photos </span></b></div>
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<a href="http://www.artforthesky.com/" style="font-weight: 700; text-decoration: none;" target="_blank"><span style="font-family: Arial, Helvetica, sans-serif;">
Art for the Sky</span></a></div>
<blockquote>
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<span style="font-family: Arial, Helvetica, sans-serif;"><strong>Art For the Sky</strong>
is a unique, large group, team building activity for schools, special events,
festivals and corporations that awakens our ability to see that elusive Big
Picture. These magnificent group creations, which only make sense when
viewed from high above, are a whole-body way of stimulating our imagination
and helping us understand our interconnection with one another and all life.
With our "skysight" turned on, we can access our highest creative potential
and better solve the problems we face as individuals and as a society.<br />
To learn about the latest events, happenings, images and theories regarding
<em>Art For the Sky</em> please tune into our blog,
<a href="http://artforthesky.blogspot.com/" target="_blank">Sky View</a>.</span></div>
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<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><span lang="EN-GB"><span style="font-family: Verdana, sans-serif;"><b>Visite "</b></span></span><span style="background-color: transparent; font-family: Verdana; font-weight: bold;">EL CULTURAL DE LA SIERRA"</span></span></div>
<div style="text-align: -webkit-auto;">
</div>
<div style="font-family: Verdana; font-weight: bold; margin: 0in;">
<span lang="EN-GB" style="font-family: Tahoma, sans-serif;"><a href="http://elculturaldelasierra.blogspot.com.es/">http://elculturaldelasierra.blogspot.com.es/</a></span><br />
<br /></div>
<b style="font-family: Verdana; text-align: -webkit-auto;">FACEBOOK : </b><span style="font-family: verdana; font-weight: bold; text-align: -webkit-auto;"><a href="http://www.facebook.com/FundacionTrevisi">http://www.facebook.com/FundacionTrevisi</a></span></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-28859440910661372732012-05-14T06:44:00.003-07:002012-10-13T11:26:36.305-07:00TREVISI FOUNDATION (ALL IN ENGLISH)<a href="http://fundacionemiliatrevisi.blogspot.com.es/2012/05/first-things-first-guadarrama-bilingue.html"><span style="color: blue; font-family: Verdana, sans-serif; font-size: x-small;"><b>GUADARRAMA BILINGUE: CURSOS Y CONTENIDOS</b></span></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivyfiYvB7JQd1PIFbB838jAglGwu9VXXl1zzWkcaiJ2GmR59sv0iU1PKl-ExHsHk-WYyTrQXL2PQAcfNqylGinXzKw70KQw3PNMS5WKvSnUCdwxSwRWdFH5ldKoCRenLpZc6dYVEhKP172/s1600/image001.jpg" /></a></div>
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<span style="font-family: Verdana, sans-serif;"> </span><b style="font-family: Verdana, sans-serif;">EMILIA MARIA TREVISI FOUNDATION </b></div>
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<b><span style="font-family: Verdana, sans-serif;">Our Goals </span></b><br />
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<span style="font-family: Tahoma;">Emilia María Trevisi Foundation <b>(EMTF)</b> main purpose is to call <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Education.htm" style="font-weight: 700; text-decoration: none;" target="_blank"><span style="color: blue;">education</span></a><span style="color: blue;"> </span>into<a href="http://www.fundacionemiliamariatrevisi.com/ingles/action.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> <span style="color: blue;">action</span>,</a> to put theory into practice in order to give a possible <a href="http://www.fundacionemiliamariatrevisi.com/ingles/autonomy.htm" style="font-weight: 700; text-decoration: none;" target="_blank">autonomy </a>to every human. Autonomy is related to the ability to make informed choices about what should be done and how to go about doing so.<br /><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/society.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Societies </a></span>organize [spoil] the world in accordance with their particular structures and requirements: organizational dynamics and cultural contexts are key factors in modern societies.<br /><b><a href="http://www.fundacionemiliamariatrevisi.com/ingles/territory.htm" style="text-decoration: none;" target="_blank">Territoriality</a> </b>supports the construction and maintenance of spatial organizations<span style="font-weight: 700;">.<a href="http://www.fundacionemiliamariatrevisi.com/ingles/Organization1.htm" style="text-decoration: none;"> </a></span>Territoriality maintains a context through which the world acquires a meaning.<br />Consequences of <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Environmentalissues.htm" style="font-weight: 700; text-decoration: none;" target="_blank">global environmental change</a> affect all, political and<a href="http://www.fundacionemiliamariatrevisi.com/ingles/economy.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> economical </a>processes,<a href="http://www.fundacionemiliamariatrevisi.com/instituciones.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> </a><a href="http://www.fundacionemiliamariatrevisi.com/ingles/InstitutionalIssues.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Institution</a><span style="font-weight: 700;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/InstitutionalIssues.htm"><span style="text-decoration: none;">s</span></a></span><a href="http://www.fundacionemiliamariatrevisi.com/instituciones.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> </a>and <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Organization1.htm" style="font-weight: 700; text-decoration: none;" target="_blank"><span style="color: blue;">organizations</span></a>.<br />However actions are determined basically by local conditions. Most evil in the world is due to a lack of awareness of the consequences of human actions, and of the possibilities that exist to do better.<br />The present world political issues are showing a great decay in </span><b><span style="font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/governance1.1.htm" target="_blank"><span style="text-decoration: none;">governance</span></a></span></b><span style="font-family: Tahoma;"> specially in less <b><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/DevelopedCountries.htm" style="text-decoration: none;" target="_blank">developed countries</a></span><a href="http://www.fundacionemiliamariatrevisi.com/DevelopedCountries.htm" style="text-decoration: none;"> </a></b>where the purpose to foster <b> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/CitizenshipandGovernance.htm" style="text-decoration: none;" target="_blank">citizenship</a> </b>and participation usually fails presumably because of merged strategies originated in some foreign policies supported by latent global enpowerment factors searching for the control of geostrategic supplies.<br /><span style="font-size: x-small;"> </span></span>
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<b><span style="font-family: Verdana, sans-serif;">Contents</span></b></div>
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<b style="font-family: Verdana, sans-serif;"><span style="color: red;"><span lang="EN-GB" style="font-style: italic;">New!</span></span><span lang="EN-GB">
</span>
<span lang="EN-GB">
<a href="http://www.fullbooks.com/Are-Women-People-.html" style="color: blue; text-decoration: none;" target="_blank">
Are Women People? by Alice Duer Miller</a></span></b><br />
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</span>
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<span lang="EN-GB" style="font-style: italic;">
New!</span></span><span lang="EN-GB">
<a href="http://www.fullbooks.com/Alexandria-and-her-Schools.html" style="color: blue; text-decoration: none;" target="_blank">
Alexandria and her Schools by Charles Kingsley</a></span></b><b>
</b> </span></div>
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<span style="font-family: Verdana, sans-serif;"><b>
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<span lang="EN-GB" style="font-style: italic;">
New!</span></span><span lang="EN-GB">
</span>
<span lang="EN-GB">
<a href="http://www.fullbooks.com/Architecture-and-Democracy.html" style="color: blue; text-decoration: none;" target="_blank">
Architecture and Democracy by Claude Fayette Bragdon</a></span><span lang="EN-GB">
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<span style="font-family: Verdana, sans-serif;"><b>More
<a href="file:///D:/Servidor%20Recuperado/public_html/ingles/VIDEOS.htm" target="_blank">VIDEOS</a> <i><span style="color: red;">
NEW! </span></i></b></span><br />
<span style="font-family: Verdana, sans-serif;"><b><i><span style="color: red;"><br /></span></i></b></span></div>
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<span style="color: #333333;"><span style="font-size: small;"></span></span><span class="menulinksarrow1"><span lang="EN-GB"> Taxpayers
/</span></span></b><b><span class="menulinksarrow1"><span lang="EN-GB">
US-NATO War Crimes / The Dangers of a Nuclear War / </span>
100,000 Iraqi Kids Killed
<span style="color: red;">and many others!</span></span></b></div>
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<span style="font-family: Tahoma;"><b>I. Educational Issues</b><br /> <span style="color: blue;"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/knowledge.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> Knowledge Transmission</a><span style="color: blue;"></span></span></div>
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<span style="font-family: Tahoma;"><span style="color: blue;"> </span> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/education1.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> Education</a></span></div>
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<span style="font-family: Tahoma;"><span style="color: blue;"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/didactis.htm" style="font-weight: 700; text-decoration: none;" target="_blank"> Didactics</a><span style="color: blue;"></span></span></div>
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<b><span style="color: blue; font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/year5abitofevry.htm" target="_blank"><span style="text-decoration: none;"> </span></a></span></b><span style="font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Pedagogy.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Pedagogy</a></span></div>
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<span style="font-weight: 700;"><span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/universitycampus.htm" target="_blank">Universities</a></span></span></div>
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<span style="font-weight: 700;"><span style="font-family: Tahoma;"> <a href="http://www.iite.ru/img/upload/Digital_Libraris.pdf" target="_blank"><span style="text-decoration: none;">Digital Libraries in education</span></a> UNESCO</span></span></div>
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<span style="font-family: Tahoma;"><b><a href="http://www.fundacionemiliamariatrevisi.com/ingles/conferences.htm" style="text-decoration: none;" target="_blank"><span style="color: blue;">Conferences, papers & courses</span></a></b></span></div>
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<span style="color: blue;"><span style="font-weight: 700;"><span style="font-family: Tahoma;"> </span></span></span><span style="font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/personalskills.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Personal skills</a><span style="color: blue;"><br /> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/TechnologicalSkills.htm" style="font-weight: 700; text-decoration: none;" target="_blank"><span style="color: black;">Technological skills</span></a></span></span></div>
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<span style="font-family: Tahoma;"><b> </b> </span><b><span style="font-family: Tahoma;"> </span></b><span style="font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Tecnologethics.htm" style="color: blue; font-weight: 700; text-decoration: none;" target="_self">ETHICS AND PRAXIOLOGY</a></span></div>
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<span style="font-family: Tahoma;"><span style="font-variant: small-caps;"> </span> </span><b><span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/tecnologmetaphys.htm" style="text-decoration: none;" target="_self">METAPHYSICS</a></span></b></div>
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<span style="font-family: Tahoma;"> </span><b><span style="color: blue; font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/scientificphilosophy1.htm" style="text-decoration: none;" target="_blank">SCIENCE & PHILOSOPHY</a></span></b></div>
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<span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/SCIENTIFICALSITES.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Scientifical Sites</a></span></div>
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<span style="font-family: Tahoma;"> <b><a href="http://space.physorg.com/sub_Astronomy/" style="text-decoration: none;" target="_blank">Astronomy</a></b></span></div>
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<span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/astronomical.htm" target="_blank"><span style="font-weight: 700; text-decoration: none;">Astronomical Sites</span></a><br /> </span><b><span style="font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/tecnologontolog.htm" style="text-decoration: none;" target="_self">ONTOLOGY</a></span></b><br />
<b><span style="color: blue; font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/philosophy.htm" style="text-decoration: none;" target="_blank">PHILOSOPHY </a><br /> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Economics.htm" style="text-decoration: none;" target="_self">ECONOMICS</a></span></b></div>
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<span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/economy.htm" style="font-weight: 700; text-decoration: none;" target="_blank">ECONOMY </a></span><b><span style="font-family: Tahoma;"><br /> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/TECHNOLOGY.htm" style="text-decoration: none;" target="_self">TECHNOLOGY</a><br /> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/THEOLOGY.htm" style="text-decoration: none;" target="_blank"> THEOLOGY</a></span></b></div>
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<b><span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/religion.htm" target="_blank"><span style="text-decoration: none;">RELIGION</span></a></span></b></div>
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<b><span style="color: blue; font-family: Tahoma;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Linguistics.htm" style="text-decoration: none;" target="_self"> LINGUISTICS</a></span></b></div>
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<span style="color: blue; font-family: Tahoma;"><b> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/society.htm" style="text-decoration: none;" target="_blank"> SOCIETY</a></b></span></div>
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<span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/didactis.htm" style="font-weight: 700; text-decoration: none;" target="_self"> DIDACTICS</a><br /> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Pedagogy.htm" style="font-weight: 700; text-decoration: none;" target="_blank">P</a></span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Pedagogy.htm" style="text-decoration: none;"><span style="font-weight: 700;"><span style="font-family: Tahoma;">EDAGOGY</span></span></a></div>
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<b><span style="color: blue; font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/MATHEMATICS.htm" style="text-decoration: none;" target="_self">MATHEMATICS</a></span></b></div>
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<span style="font-family: Tahoma;"> <span style="color: blue;"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/music.htm" style="font-weight: 700; text-decoration: none;" target="_blank">MUSIC</a></span></div>
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<span style="font-family: Tahoma;"><b>II. Cultural issues</b><br /> <span style="color: grey;"> </span><span style="color: blue;"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/Art.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Art and Architecture</a><span style="color: blue;"> <br /> </span></span><span style="color: blue; font-family: Tahoma;"><b><a href="http://www.fundacionemiliamariatrevisi.com/ingles/books.htm" style="text-decoration: none;" target="_blank">Books</a></b></span></div>
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<span style="font-family: Tahoma;"> <span style="color: blue;"> </span> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/CitizenshipandGovernance.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Citizenship & Governance</a> <span style="color: blue;"><br /> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/communicationsystem1.htm" style="font-weight: 700; text-decoration: none;" target="_blank">Communication</a> </span></div>
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<span style="font-family: Tahoma;"><span style="color: blue;"><b> </b> </span><b><span style="color: blue;"> </span><a href="http://www.fundacionemiliamariatrevisi.com/ingles/ecology.htm" style="text-decoration: none;" target="_blank">Ecology</a></b></span></div>
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<span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protected%20Area.htm" style="font-weight: 700; text-decoration: none;" target="_self">Protected Areas</a></span></div>
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<span style="font-family: Tahoma;"><b> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protectedarea1..htm" style="text-decoration: none;" target="_blank">Protected Areas (1)</a><br /> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/Protectedareas2.htm" style="text-decoration: none;" target="_blank">Protected Areas (2)</a></b></span></div>
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<b><span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/ingles/protectedareas3.htm" style="text-decoration: none;" target="_blank">Protected Areas (3)</a></span></b></div>
<div style="text-align: -webkit-auto;">
<span style="font-family: Tahoma;"><b> <a href="http://www.unep-wcmc.org/sites/wh/uvs_nuur.htm" style="text-decoration: none;" target="_blank">Protected Areas Programme</a> <span style="color: blue;">(4) (UNEP)</span></b></span></div>
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<b><span style="color: blue; font-family: Tahoma;"> <a href="http://www.unep-wcmc.org/protected_areas/index.html" target="_blank"><span style="text-decoration: none;">Protected Areas Programme</span></a> (5) (IUCN)</span></b></div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0tag:blogger.com,1999:blog-4496318716801576502.post-16369612582438934712012-05-11T11:59:00.000-07:002012-11-12T02:08:03.593-08:00SAY IT NOW: CURSOS Y CONTENIDOS<div style="text-align: center;">
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<span style="color: #134f5c; font-family: Georgia, 'Times New Roman', serif; font-size: large;"><i>SAY IT NOW! british institute</i></span></h2>
<b style="color: #741b47; font-family: Verdana, sans-serif;">FIRST THINGS FIRST</b><br />
<b style="color: #741b47; font-family: Verdana, sans-serif;"><br /></b></div>
<i style="-webkit-transition: color 0.3s initial initial; background-color: white; color: #1111cc; cursor: pointer; display: inline; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 1.4; outline: none; text-align: -webkit-center;"><span style="color: blue; cursor: pointer;"><b> INGLÉS en</b></span></i><br />
<i style="background-color: white; color: #1111cc; cursor: pointer; display: inline; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 1.4; outline: none; text-align: -webkit-center;"><span style="color: blue; cursor: pointer;"><b> "GUADARRAMA EN MARCHA"</b></span></i><br />
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<span style="font-family: Verdana, sans-serif;"><b>¿Por qué nos cuesta tanto hablar inglés?</b></span><br />
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<b style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 22px; text-align: -webkit-center;"><i>SAY IT NOW british institute es una consultora a la cual se puede apelar en averiguación de la eficacia del método que se aplica sobre usted para aprender la lengua</i></b><br />
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<span style="font-family: Verdana, sans-serif;"><b><a href="http://www.fundacionemiliamariatrevisi.com/turismo%20educativo.htm">Turismo educativo en inglés y en castellano</a></b></span><br />
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<span style="background-color: white; color: navy; font-family: Verdana, sans-serif; line-height: 1.4;">Educational Tours</span><br />
<span style="background-color: white; color: navy; font-family: Verdana, sans-serif; line-height: 1.4;">¿Por qué turismo educativo?</span><br />
<span style="background-color: white; color: navy; font-family: Verdana, sans-serif; line-height: 1.4;">Un recorrido por la Prehistoria y la Edad Media</span><br />
<span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4;">Para colectivos y público en general</span><br />
<span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4;">Para Escuelas Públicas y Privadas con escolaridad en inglés</span><br />
<span style="background-color: white; color: #333333; font-family: Tahoma; font-size: 14px; line-height: 1.4;">Consultas en</span><span style="background-color: white; color: blue; font-family: Tahoma; font-size: 14px; line-height: 1.4;"> <b>sayitnow@fundacionemiliamariatrevisi.com</b></span><br />
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<span style="font-family: Verdana; text-align: -webkit-auto;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="background-color: white; color: maroon; font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/fasciculos.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="font-family: Verdana;">FASCÍCULOS</span></a><span style="font-size: 14px;"> (EN INGLÉS)</span></span></span></span></span></span></span><br />
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<span style="font-family: Verdana; text-align: -webkit-auto;"><span style="color: maroon;"><span style="background-color: white; text-align: -webkit-center;"><span style="font-size: 14px;"> </span><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana;"> </span></span></span></span></span></span><br />
<span style="font-family: Verdana; text-align: -webkit-auto;"><span style="color: maroon;"><span style="background-color: white; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;">Mensualmente </span></span><span style="color: green;"><span class="Apple-style-span" style="font-weight: 700;">GOOD NEWS</span></span><span class="Apple-style-span" style="color: black;"> trae textos cortos </span></span><span style="background-color: white; text-align: -webkit-center; text-indent: 0pt;">con referencias gramaticales y el audio corres</span></span></span><span style="background-color: white; color: maroon; font-family: Verdana; text-align: -webkit-center; text-indent: 0pt;"><span class="Apple-style-span" style="color: black;">pondiente. Pinche en </span></span><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; color: maroon; font-family: Verdana; font-weight: 700; text-align: -webkit-auto; text-indent: 0pt;"><span class="Apple-style-span" style="font-family: Tahoma; text-align: center;"><span style="background-color: white; font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/fasciculos.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="font-family: Verdana;">FASCÍCULOS</span></a></span></span></span><span class="Apple-style-span" style="color: maroon; font-family: Tahoma; text-align: center; text-indent: 0pt;"><span style="background-color: white; font-family: Verdana;"><a href="http://www.fundacionemiliamariatrevisi.com/fasciculos.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana;"> </span></span></a><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;">y los encon</span></span></span><span style="background-color: white; color: maroon; font-family: Verdana; text-align: -webkit-auto; text-indent: 0pt;">trará.</span><b style="color: #333333; font-family: Verdana; line-height: 1.4; text-align: -webkit-auto;"><span style="color: maroon;"> <span style="font-size: 14px;"> </span></span></b></div>
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<span style="background-color: white; font-family: arial, sans-serif;"><b><span style="color: maroon; font-family: Verdana;"><span style="font-size: medium;"><br /></span></span></b></span></div>
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<span style="background-color: white; font-family: arial, sans-serif;"><b><span style="color: maroon; font-family: Verdana;"><span style="font-size: medium;">GOOD NEWS!</span>, </span></b></span><span style="font-family: Tahoma;"><span style="background-color: white;"><span style="color: #234600; font-family: arial, sans-serif;"> </span><b><span style="color: #234600; font-family: arial, sans-serif;">nuestro periódico en inglés al mes de setiembre </span></b></span></span></div>
<span style="font-family: Tahoma;"><span style="background-color: white;"><b><span style="color: #234600; font-family: arial, sans-serif;"> </span>Números</b></span></span><span style="font-family: Verdana;"><span style="font-family: Tahoma;"><span style="background-color: white;"><span style="color: #234600; font-family: Verdana;"> </span></span></span><span style="color: maroon;"><span class="Apple-style-span" style="font-weight: 700;"><span style="color: #1111cc;"><a href="http://www.fundacionemiliamariatrevisi.com/goodlio3.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">I</a> - </span><span style="font-family: 'Times New Roman';"><a href="http://www.fundacionemiliamariatrevisi.com/goodlio4.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"><span style="font-family: Verdana;">II</span></a></span> -<a href="http://www.fundacionemiliamariatrevisi.com/Goodnews.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"> III</a> - <a href="http://www.fundacionemiliamariatrevisi.com/goodlio5.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="color: blue; font-family: Verdana;">IV</span></a><span style="color: blue;"> -</span></span></span></span><span style="color: blue; font-family: Verdana;"><b><span style="font-family: Tahoma;"> <a href="http://www.fundacionemiliamariatrevisi.com/GOODLIO6A.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">V</a> - </span></b></span><b style="color: black; font-family: 'Times New Roman'; line-height: normal; text-align: -webkit-center;"><a href="http://fundacionemiliatrevisi.blogspot.com.es/" style="color: #1111cc; cursor: pointer; text-decoration: none;"><span style="font-family: Verdana, sans-serif;">VI</span></a></b></div>
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<span style="color: blue; font-family: Verdana;"><span style="font-weight: 700;"> </span></span><br />
<span style="background-color: white; color: #741b47; font-family: Verdana; font-weight: 700; line-height: 1.4; text-align: justify;">SUPPLEMENTS</span></div>
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<span style="background-color: white; color: blue; font-family: Verdana; line-height: 1.4; text-align: justify;"><span style="font-weight: 700;">1. </span></span><span style="background-color: white; color: maroon; font-family: Verdana; line-height: 1.4; text-align: justify;"><b><span style="font-family: Tahoma;">"</span><a href="http://www.fundacionemiliamariatrevisi.com/business.pdf" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="font-family: Tahoma;">Business English</span></a><span style="font-family: Tahoma;">"</span> / <a href="http://www.fundacionemiliamariatrevisi.com/suplemento2.pdf" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="font-family: Tahoma;">"Graph"</span></a></b> <b>(2)</b></span></div>
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<span style="font-family: Verdana; text-align: -webkit-auto;"><span style="color: #234600;"><b>2. a. <a href="http://www.fundacionemiliamariatrevisi.com/supplement2a.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Sherlock Holmes </a> /</b></span></span><span style="background-color: white; color: #234600; font-family: Verdana; line-height: 1.4; text-align: -webkit-auto;"><b> b. </b></span><a href="http://www.fundacionemiliamariatrevisi.com/supplement2b.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; background-color: white; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; line-height: 1.4; outline-color: initial; outline-style: none; outline-width: initial; text-align: -webkit-auto; text-decoration: none;"><span lang="es" style="color: black; cursor: pointer; font-weight: bold;">Organ</span><span lang="es" style="color: #009900; cursor: pointer; font-weight: bold;">BACH</span><span lang="es" style="color: black; cursor: pointer; font-weight: bold;">and</span><span lang="es" style="color: #009900; cursor: pointer; font-weight: bold;">JAZZ</span></a></div>
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<span style="color: maroon; font-family: Verdana; text-align: -webkit-auto;"><span style="background-color: white; font-style: italic;"><b><span style="font-family: Georgia;">SAY IT NOW ! </span></b></span></span><b style="color: maroon; font-family: Verdana; font-style: italic; line-height: 1.4; text-align: -webkit-auto; text-indent: 0pt;"><span style="font-family: Georgia;">british institute</span></b></div>
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<span style="font-family: Tahoma; text-align: -webkit-auto;"><span style="background-color: white;"><span style="color: #38761d;"><b>¿Fonética?</b></span></span></span><br />
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<b style="background-color: #006600; color: white; font-family: Tahoma; line-height: 1.4; text-align: -webkit-auto; text-indent: 0pt;"><span style="font-family: Verdana;"> Solución al complejo sistema de sonidos</span></b></div>
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<span style="color: maroon; font-family: Tahoma; line-height: 1.4; text-align: -webkit-auto;"></span><span style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 1.4; text-align: -webkit-auto;"><span style="font-family: Verdana;"></span></span></div>
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<span style="text-align: -webkit-auto;"><span style="font-family: Verdana;"><span style="background-color: #006600;"><span style="color: white;"><b>de la lengua inglesa</b></span></span></span></span></div>
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<span style="text-align: -webkit-auto;"><span style="font-family: Tahoma;"> <b>¿Qué le parece un programa en el que </b></span><span style="font-family: Tahoma; text-indent: 0pt;"><b>usted escribe </b></span><b style="text-indent: 0pt;"><span style="font-family: Tahoma;">un texto y el programa lo lee </span></b></span><b style="line-height: 1.4; text-align: -webkit-auto; text-indent: 0pt;"><span style="font-family: Tahoma;">por usted?</span></b></div>
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<span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;">Una de las mayores dificultades que ofrece el aprendizaje del inglés es que, a diferencia del español, las vocales, con todo que son 5, al igual que en nuestra lengua, suenan 12 veces. El problema radica, así, en saber cuál es el sonido que corresponde a cada una de ellas en cada palabra que las contiene. No suena de la misma manera la "a" en "F</span><i style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;"><b>A</b></i><span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;">THER" que en "T</span><b style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;">A</b><span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;">BLE".Las nuevas tecnologías aplicadas al aprendizaje del inglés ofrecen un programa que nos autoriza a escribir un </span><b style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;">tex</b><b style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;">to</b><span style="background-color: white; color: #333333; font-family: Verdana, sans-serif; line-height: 1.4; text-align: -webkit-auto;"> a cuya pronunciación y entonación accederemos a simple toque de tecla.</span></div>
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<span style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 1.4; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana;"><span style="font-family: Verdana;"><span style="background-color: green;"><b><span style="color: white;"> </span> <a href="http://www.fundacionemiliamariatrevisi.com/sounds.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="color: white; font-family: Verdana;">Pinche aquí</span></a><span style="color: white;"> </span></b></span></span></span></span></div>
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<h3 style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; position: relative;">
<span style="color: #333333; font-family: 'Helvetica Neue Light', HelveticaNeue-Light, 'Helvetica Neue', Helvetica, Arial, sans-serif; line-height: 1.4; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana;"><span style="font-size: small;"><span style="background-color: white;">GOOD NEWS!</span><span style="font-family: Tahoma;"><span style="background-color: white;"><span style="font-family: Verdana;"> <b>Our paper in English</b></span></span></span></span></span></span></h3>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-weight: 700;"><span style="color: maroon;"> </span><span style="color: maroon;"><a href="http://www.fundacionemiliamariatrevisi.com/goodlio3.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank">GOOD NEWS!</a></span><span style="color: #1111cc;"> I </span></span></div>
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<span style="height: 4886px; left: 1111px; position: absolute; text-align: center; top: 1143px; width: 7px; z-index: 1;"><span style="font-family: Verdana, sans-serif;"></span></span><span style="height: 4188px; left: 757px; position: absolute; text-align: center; top: 1148px; width: 9px; z-index: 1;"><span style="font-family: Verdana, sans-serif;"></span></span><span class="Apple-style-span" style="font-weight: 700; text-align: -webkit-center;"><span style="color: maroon; font-family: Verdana, sans-serif;"> <a href="http://www.fundacionemiliamariatrevisi.com/goodlio4.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank">GOOD NEWS! II</a></span></span></div>
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<span class="Apple-style-span" style="font-weight: 700; text-align: -webkit-center;"><span style="color: maroon; font-family: Verdana, sans-serif;"> <a href="http://www.fundacionemiliamariatrevisi.com/Goodnews.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank">GOOD NEWS! III</a> </span></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-weight: 700; text-align: -webkit-center;"><span style="color: blue;"> </span><span style="color: maroon;"><a href="http://www.fundacionemiliamariatrevisi.com/goodlio5.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><span style="color: blue;">GOOD NEWS! IV</span></a></span></span></div>
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<b><span style="color: blue; font-family: Verdana, sans-serif;"> <a href="http://www.fundacionemiliamariatrevisi.com/GOODLIO6A.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">GOOD NEWS! V</a></span></b><br />
<b style="color: black; line-height: normal; text-align: -webkit-center;"><span style="color: blue; font-family: Verdana; font-size: x-small; text-align: -webkit-auto;"> </span><a href="http://fundacionemiliatrevisi.blogspot.com.es/" style="color: #1111cc; cursor: pointer; text-decoration: none;"><span style="font-family: Verdana, sans-serif;">GOOD NEWS! VI</span></a></b><b style="color: black; line-height: normal; text-align: -webkit-center;"></b></div>
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<span style="font-family: Tahoma;"><span style="color: maroon; font-family: Verdana;"><b><span style="background-color: white;"><span style="color: green;"><span style="font-size: large;"><br /></span></span></span></b></span></span>
<span style="font-family: Tahoma;"><span style="color: maroon; font-family: Verdana;"><b><span style="background-color: white;"><span style="color: green;"><span style="font-size: large;">SAY IT NOW!</span></span><span style="color: green; font-size: small;"> </span></span></b><span style="font-family: Tahoma;"><span class="Apple-style-span" style="color: black;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; color: green; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana;">british institute</span></span></span></span></span></span></span></div>
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<b style="background-color: white; color: maroon; font-family: Georgia; font-style: italic; line-height: 1.4; text-align: -webkit-center; text-indent: 0pt;">Nuestras películas</b><br />
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-weight: normal; text-align: center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana; text-align: -webkit-center;"><b><span style="font-family: Georgia;">"CORTO" SOBRE FONÉTICA Y FONOLOGÍA (Noviembre)</span></b></span></span></span></span></span></span><br />
<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-weight: normal; text-align: center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span style="color: maroon; font-family: Verdana; text-align: -webkit-center;"><b><span style="font-family: Georgia;"><br /></span></b></span></span></span></span></span></span></div>
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: 10pt;"> </span><span style="font-family: Verdana, sans-serif;">Se ha puesto sobre la mesa un tema ha despertado gran interés entre los alumnos:<b>fonética y fonología.</b> Se trata de un corto. Se subirá a<b> Youtube</b> para refuerzo de lo que estamos trabajando en clase, a la vez que <b>para participación y conocimiento de nuestra gente </b>de lo que significa el "proyecto Guadarrama Bilingüe". Será de acceso libre: <b>sonidos vocales, semivocales y </b></span><b><span style="font-family: Verdana, sans-serif;">consonantes</span></b><span style="font-family: Verdana, sans-serif;">, a disposición de todo el mundo.</span></span></span></span></span></span></span></div>
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif;"> </span></span></span></span></span></span></span><span style="color: black; font-family: Verdana, sans-serif; line-height: 1.4; text-align: center; text-indent: -18pt;"><b> </b></span></div>
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<span style="background-color: white; line-height: 1.4; text-align: center; text-indent: -18pt;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;"> </span> </span></span><b style="background-color: white; color: maroon; font-family: Georgia; line-height: 1.4; text-align: center; text-indent: -18pt;">"CORTO" SOBRE EDUCACIÓN (Noviembre)</b></div>
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<span style="color: #333333; font-family: Tahoma; line-height: 1.4; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"><span style="font-family: Verdana, sans-serif;">No acaban aquí las novedades. <b>Estamos a punto de lanzar un corto sobre educación</b> en el que abordaremos una metodología acorde con todo lo que tiene de nuevo este mundo, Para eso visitaremos tres escuelas de la sierra -una pública, una concertada y una privada- para difundir su trabajo.</span></span></span></span></span></span></span></div>
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<span style="color: #333333; font-family: Tahoma; line-height: 1.4; text-align: -webkit-center;"><span style="color: maroon;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; font-weight: 700; text-align: -webkit-auto;"><span style="font-family: Verdana; font-weight: normal; text-align: -webkit-center;"><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px; text-align: -webkit-auto;"><span class="Apple-style-span" style="color: black; font-family: Tahoma; text-align: center;"></span></span></span></span></span></span></div>
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<span style="font-family: Tahoma; text-align: -webkit-center;"><span style="color: maroon;"><span style="font-family: Verdana;"><span style="color: black; font-family: Verdana, sans-serif;">El aporte intelectual y afectivo que nos prestan los que participan en este trabajo ayudará a sacar adelante el film. Al igual que el corto sobre fonética, será subido a YouTube en satisfacción de los cambios que entendemos deben operarse en educación.</span></span></span></span></div>
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<span style="background-color: white;"><i><b><span style="color: maroon; font-family: Georgia;">NUESTROS CHICOS: AQUÍ Y ACULLÁ.</span></b></i></span><br />
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<b style="background-color: white; font-family: Verdana; line-height: 1.4; text-align: justify;">Todos sabemos que aprender inglés es esencial para moverse en un mundo que no nos da tregua. Lo ideal es que aprendamos desde pequeños.</b></div>
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<b style="background-color: white;"><span style="color: #333333;">La forma de trabajo que hemos implementado </span><span style="color: #333333;"> nos ha permitido apartarnos del remanido aprendizaje de los colores, los días de la semana y los tiempos verbales. Los chicos trabajan un inglés que sirve a los intereses de la comunicación oral. Así se abordan temas que escapan e lo habitual: Da Vinci, Sorolla, football, cuentos tradicionales y demás contenidos que despiertan interés y a la vez facilitan la comunicación.</span></b><br />
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<b style="background-color: white;">Lea usted los contenidos de esta página y consúltenos en</b><br />
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<b style="background-color: #f3f3f3;"><span style="color: #006600; font-family: 'Monotype Corsiva'; font-size: large;">Fundación Emilia Mª Trevisi</span></b></div>
<i style="background-color: white; color: #333333; font-family: Verdana; line-height: 1.4; text-align: justify;"><b><span style="background-color: #f3f3f3; color: green;">SAY IT NOW british institute</span></b></i></div>
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<i><b><span style="color: green;"><span style="background-color: #f3f3f3; font-size: xx-small;">y</span></span></b></i></div>
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<a href="http://www.fundacionemiliamariatrevisi.com/masnovedades.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: Georgia, 'Times New Roman', serif; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><i><span style="color: blue; cursor: pointer; font-size: medium;">Guadarrama Bilingüe</span></i></a></div>
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<span style="font-size: medium;">Herramientas y algo más</span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/dictionaries.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="centro"><b>Dictionaries on-line</b></a></span></div>
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<span style="font-family: Verdana, sans-serif;">Además del diccionario que recomendamos, existen otros , también on-line que ofrecen excelentes contenidos</span><br />
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<b><span style="font-family: Verdana, sans-serif;"><span lang="EN-US" style="color: blue;"><a href="http://www.fullbooks.com/" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank">Thousands of FULL-TEXT</a></span><span lang="EN-US"> </span><a href="http://www.fullbooks.com/" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"><span lang="EN-US">free Books!</span></a></span></b></div>
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<span style="font-family: Verdana, sans-serif;">Este apartado contiene MILES de libros COMPLETOS en inglés...Y gratis!!!.</span><br />
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<b><span style="font-family: Verdana, sans-serif;"><a href="http://www.youtube.com/watch?v=pMcfrLYDm2U" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" title="http://www.youtube.com/watch?v=pMcfrLYDm2U
CTRL + clic para seguir el vínculo"><span lang="EN-US">SHIFT HAPPENS</span></a></span><span lang="EN-US" style="font-family: Verdana, sans-serif;"> </span><span lang="EN-US" style="font-family: Verdana, sans-serif;">(VIDEO)</span></b></div>
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<span lang="EN-US" style="font-family: Verdana, sans-serif;">Are we looking forward to meeting the needs of our children? </span><span lang="en-us"><span style="font-family: Verdana, sans-serif;">Excelente charla que nos alerta acerca de lo acertado (o no) de nuestra tarea como padres o maestros.</span></span></div>
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<b style="line-height: 1.4; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><br /></span></b></div>
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<b><span style="color: blue;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/hunger.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Hunger in the World</span></span></a></span></b></div>
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<b style="line-height: 1.4; text-align: justify;"><span style="font-family: Verdana, sans-serif;">La hambruna que castiga a millones de personas en el mundo</span></b></div>
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<b><span style="color: blue; font-family: Verdana, sans-serif;"><a href="http://www.fundacionemiliamariatrevisi.com/ingles/hunger.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"><span lang="EN-US">Hunger in the World</span></a></span></b></div>
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<b><span style="color: blue; font-family: Verdana, sans-serif;"><a href="http://www.fundacionemiliamariatrevisi.com/museos.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"><span lang="EN-US">Museums</span></a></span></b></div>
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<b><span style="font-family: Verdana, sans-serif;">¿Cuántos museos se imagina que se esconden detrás de este título? Se equivoca. Muchos más de los que ha pensado. Acaso todos.</span></b></div>
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<b><span style="font-family: Verdana, sans-serif;">¿Son tan enormes las diferencias?</span></b></div>
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<b><a href="http://www.economist.com/blogs/johnson/2011/11/british-and-american-english-0" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: blue; display: inline; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" title="http://www.economist.com/blogs/johnson/2011/11/british-and-american-english-0
CTRL + clic para seguir el vínculo"><span style="font-family: Verdana, sans-serif;"><span lang="EN-US">The Economist: British and American English</span></span></a></b></div>
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<span style="font-family: Verdana, sans-serif;"><b>Educational Gazette<span style="color: blue;">, </span></b><b style="color: #333333; line-height: 1.4; text-align: justify;">Our Magazine in English: </b><b style="line-height: 1.4; text-align: justify;"><span style="color: blue;">(</span></b><span style="color: blue; line-height: 1.4; text-align: justify;"><b>http://www.fundacionemiliamariatrevisi.com/ingles/index3 gazatte.htm)</b></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><b> Deputy Editing Director</b> Prof. Patricia Lannoó, Montessori School, Collado Villalba, Madrid</span></div>
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<b><span style="font-family: Verdana, sans-serif;"> Pro Tempore Project Manager</span></b></div>
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<span style="font-family: Verdana, sans-serif;"> Carlos A. Trevisi, Trevisi Foundation, Buenos Aires - Madrid</span></div>
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Nuestra <a href="http://www.fundacionemiliamariatrevisi.com/ingles/fundacion.htm" style="-webkit-transition-delay: initial; -webkit-transition-duration: 0.3s; -webkit-transition-property: color; -webkit-transition-timing-function: initial; color: #1111cc; cursor: pointer; display: inline; font-family: arial, sans-serif; font-weight: 700; outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;" target="_blank"><span style="font-family: Tahoma;">Web en inglés</span></a><span style="font-family: Tahoma; font-weight: 700;"> <span style="font-size: xx-small;"> </span></span></div>
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<span style="background-color: white; color: #741b47; font-family: Verdana, sans-serif; font-size: 14pt;">Interpretación de Textos en inglés</span><br />
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<span style="font-family: Verdana, sans-serif;">Se trata de interpretar -no confundir con "traducir"- una serie de oraciones agrupadas según la funcionalidad de sus verbos. Se trata de 6 grupos y se comienza desde el número 1. Según se desee se podrá ir subiendo hasta el grupo 6 (recomendado para los que están avisados de la lengua inglesa)</span></div>
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<span style="font-family: Verdana, sans-serif;">Si deseara trabajar con un diccionario on line -lo aconsejable- visite </span></div>
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<span style="color: blue; font-family: Verdana, sans-serif;">www.wordreference.com</span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="http://justenglish.blogspot.com.es/">http://justenglish.blogspot.com.es</a></span></div>
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<span style="font-family: Verdana, sans-serif;">http://grammarhel</span><span style="background-color: white; font-family: Verdana, sans-serif;">p</span><span style="background-color: white; font-family: Verdana, sans-serif;">.</span><span style="background-color: white; font-family: Verdana, sans-serif;">blogspot.</span><span style="background-color: white; font-family: Verdana, sans-serif;">com</span><span style="background-color: white; font-family: Verdana, sans-serif;">.e</span><span style="background-color: white; font-family: Verdana, sans-serif;">s</span><br />
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<span style="background-color: white; color: black; font-weight: bold;"><span style="font-family: Verdana, sans-serif;">TESTS</span></span></div>
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<span style="background-color: white; color: black; font-weight: bold;"><span style="font-family: Verdana, sans-serif;">Se aconseja resolver los tests según se finaliza la interpretación de cada grupo. </span></span></div>
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<a href="http://say-it-now-tests.blogspot.com.es/" style="background-color: white; font-family: Verdana, sans-serif;"><span style="color: blue;">http://say-it-now-tests.blogspot.com.es/</span></a><br />
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<span style="color: #0b5394; font-family: Verdana, sans-serif;"><a href="http://say-it-now-test-ii.blogspot.com.es/">http://say-it-now-test-ii.blogspot.com.es/</a></span><br />
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<b><span style="font-family: Pump Demi Bold LET;">
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SAY
IT NOW!</span></span></b></div>
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<span lang="EN-GB" style="color: #cc0000; font-family: Tahoma; font-size: 10.0pt;">
British Institute</span></b></div>
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Hablar inglés es penetrar el plano dinámico del habla. Para eso es
menester lograr una gran frecuencia de impacto de la lengua sobre el
aprendiz, de modo que adquiera el reflejo
lingüístico, es decir, la capacidad de respuesta inmediata ante un
estímulo oral. </span></div>
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Presentación</span></a></span></span></div>
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<a href="file:///D:/Servidor%20Recuperado/public_html/propaganda/fa3.htm" target="_blank">
<span style="color: white;">Hablar Inglés</span></a></span></div>
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<a href="file:///D:/Servidor%20Recuperado/public_html/propaganda/fa1.htm" target="_blank">
<span style="color: white;">Aprender a leer textos en inglés</span></a></span></div>
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<a href="file:///D:/Servidor%20Recuperado/public_html/propaganda/Say%20it%20NowCursos%20presenciales.pps" target="_blank">
<span style="color: white;">Inglés para empresas</span></a></span></span></div>
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<span style="color: white;">Servicios</span></a></span></span></div>
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<b><span style="color: red; font-family: Arial;"> </span></b><span lang="ES" style="font-family: Arial; font-weight: 700;"><span style="color: navy; font-size: small;"> </span></span></div>
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<span style="font-family: Arial; font-weight: 700;"> </span></span><tt style="font-family: Courier New;"><span style="color: #d53941; font-family: Tahoma; font-size: 10.0pt;">Director académico:</span><span style="font-family: Tahoma; font-size: 10.0pt;">
Carlos A. Trevisi</span></tt></div>
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<span style="font-family: Tahoma;"> </span><tt style="font-family: Courier New;"><span style="font-family: Tahoma; font-size: 10.0pt;"> (<a href="mailto:ingles@fundacionemiliamariatrevisi.com?subject=SAY%20IT%20NOW!"><span style="color: navy;">ctrevisi@fundacionemiliamariatrevisi.com</span></a>)</span></tt> </div>
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Fundación Emilia Mª Trevisihttp://www.blogger.com/profile/04526927689834856494noreply@blogger.com0