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A collection of hard-core curses, colorful colloquialisms, and streetwise slang never taught in Spanish class includes sample conversations, painless quizzes, tips on body gestures, and discussions of Spanish history, culture, and cuisine—complete with delightful cartoons.
A new collection of hard-core curses, colorful colloquialisms, and streetwise slang never taught in Spanish class includes sample conversations, painless quizzes, tips on body gestures, and discussions of Spanish history, culture, and cuisine—complete with delightful cartoons.
INTIHUATANA Del Quechua: Donde se Ata al Sol El tiempo no es más que espacio entre recuerdos de vida. Una vida de renacer diario que nos conlleva a aprender una sucesión de lecciones. Pasan los años como peldaños desde donde puedo ver mejor lo absurdo, lo verosimil, lo verdadero de lo vivido, en un tiempo que realmente no pasa. Pasamos nosotros que no encontramos el escondite para el elemento tiempo que nos devora hasta desaparecernos y sustituirnos entre sus fauces del plano de este mundo, más tenemos algo eterno dentro de nosotros que el tiempo no logra corroer porque no pertenece a este mundo y tiene una gran fuerza : el espíritu. Les dejo algunas memorias de unas porciones en del espacio de mi tiempo , del Intihuatana de mi vida. Con mucho cariño, espero que la disfruten. Salud!. Intihuatana es una misteriosa escultura irregular, localizada a un extremo del Templo de las Tres Ventanas, un obervatorio Inca de la Ciudad de Macchupicchu en Perú, considerada una de las maravillas del mundo. Cuenta la Leyenda Inca, que Intihuatana era utilizado para amarrar al Sol, en un esfuerzo por evitar que se fuera, o quizá sólo para alargar el día y estirar las horas de luz. El Sol era considerado el Padre y Dios de los Incas e Intihuatana era una roca labrada ubicada en casi todas las cudades incas. Con la llegada de los españoles al Perú todas las Intihuatanas fueron destruidas permaneciendo en el tiempo solo la que existe hoy en Macchupicchu. María Belén (Maribé) escucha últimamente indefi nibles sonidos en el sótano de su casa donde por años nadie ha descendido. Su prima Mercedes, de sensibilidad especial viene para acompañarla a bajar al sótano y descubrir la procedencia de ellos. Caminando entre piezas antiguas encuentran un antiguo baúl cerrado. Después de algunos intentos logran abrirlo. Entre extrañas curiosidades encuentran unas escrituras. Quién y de qué trata todo ello? Descubren que la escritora se llama Tess. La reconocen como su antepasada. La curiosidad las distrae del objetivo por el que están en el lugar. Se entretienen leyendo rápidamente, resumiendo páginas. Tess tiene muchas cosas expresadas en papel. Casi toda una vida. Se emocionan compartiendo sus letras y vivencias . Pero no están solas. Alguien más que se manifi esta de modo incomprensible. Poco a poco se dan cuenta que son prisioneras de la realidad de si mismas y desearán escapar y vivir una nueva vida. Lo lograrán?
In a long history of ruination and destruction, neoliberalism is the most recent and virulent form of capitalism. This book is a call to action against the most persistent and pestilent disease of our time. Translated into over twenty different languages, the book offers a call to action that transcends local contexts and speaks to the violent global conditions of our neoliberal age. Fuck Neoliberalism: Translating Resistance is a worldwide middle finger to the all-encompassing ideology of our era. The original essay sparked controversy in the academy when it was first released and has since spread around the world as enthusiastic rebels translated it into their own languages. This book brings those translations together, accompanied by short essays from each translator explaining why they translated the text and describing struggles against neoliberalism in their regions. With translations into languages from across the globe, including Mandarin, German, Indonesian, Spanish, Hindi, Italian, Korean, and many more, this book highlights the international nature of resistance to the totalitarian ideology of neoliberalism. Featuring a cover produced by renowned artist Ed Repka (a.k.a. the King of Thrash Metal Art), this internationalized, heavy-metal rant against the all-powerful ideology highlights a chink in its armor. When people across the world find a way to communicate a shared message and stand together, resistance can be both beautiful and inspiring.
Coded Lyrics is the first comprehensive academic work dedicated to unraveling the lyrical intricacies of Argentine rock in the English language. This book redefines the narrative of rock history, shedding light on the distinctive journey undertaken by South American rock music amidst a unique set of contextual challenges, far removed from its English-speaking counterparts. Within this vibrant musical landscape, Argentine rock emerges as a shining example of cultural resistance in the region. Focusing intently on Argentina's tumultuous authoritarian decades and the post-dictatorship era, this book delves deep into the heart of the Argentine rock genre's lyrical content. It vividly portrays the ongoing struggle between the state and the public, where identity, language, and perception converge around the powerful medium of rock music. Coded Lyrics is not a conventional musicological study; instead, it serves as a meticulous exploration of language and culture. With captivating prose, the book unravels the genesis of Argentine rock, placing language at its epicentre. Through a thorough examination of rock lyrics, this work unveils the artful manipulation of language as a vehicle for resistance. It illuminates the unexpected consequences of censorship in Argentina, with Argentine rock lyrics standing as a compelling testament to the transformative power of art in the face of totalitarianism.
What do 'bimbo,' 'glitch,' 'savvy,' and 'shtick' all have in common? They are all expressions used in informal American English that have been taken from other languages. This pioneering book provides a comprehensive description of borrowings in informal American English, based on a large database of citations from thousands of contemporary sources, including the press, film, and TV. It presents the United States as a linguistic 'melting pot,' with words from a diverse range of languages now frequently appearing in the lexicon. It examines these borrowings from various perspectives, including discussions of terms, donors, types, changes, functions, and themes. It also features an alphabetical glossary of 1,200 representative expressions, defined and illustrated by 5,500 usage examples, providing an insightful and practical resource for readers. Combining scholarship with readability, this book is a fascinating storehouse of information for students and researchers in linguistics as well as anyone interested in lexical variation in contemporary English.
Essays and poems published as a tribute to Salvador Allende on the centenary of his death.
The colloquial Spanish of everyday conversation and commerce is rarely taught in the language classroom. The Street Spanish Series fills this gap, supplying non-native speakers with the vernacular, vocabulary, and odd constructions needed to avoid embarrassment and communicate effectively in any situation. The third guide provides 10 easy lessons on expletives, euphemisms, and obscenities.
Audiovisual translation has attracted the attention of many researchers in the years since it became recognised as an academic discipline with an established theory of translation. For its part, cinema is one of today’s most powerful and influential media, and the vast number of US films translated for Spanish audiences merits particular academic attention. This book presents an analysis of the insults from seven films directed by the North American filmmaker Quentin Tarantino – Reservoir Dogs, Pulp Fiction, Four Rooms, Jackie Brown, Kill Bill (vols. I and II), Death Proof, and Inglourious Basterds – and how these insults have been translated from English into Spanish. One of the main reasons for building a corpus of this nature was to document the way Tarantino’s work is dubbed, and, using concrete examples, to describe the reality of translation and provide linguistic material with which to study dubbing, the most widespread translation modality in Spain. In an analysis of this nature, Tarantino’s films offer an interesting opportunity from a social perspective because of the exceptional number of insults they contain: 1526 insults have been recorded, classified and analysed in the preparation for this book. The magnitude of this figure is evidence of Tarantino’s constant use of swearwords, regardless of what his audiences might think, and whether or not they might sometimes prefer not to hear such a steady stream of foul language. Furthermore, his popularity has been achieved precisely because he refuses to allow distribution companies to alter his dialogues in any way, or modify the violence of his scenes, making Tarantino’s films of particular interest to the reader.
Si. Juguemos. Juguemos como jugamos los adultos, no como juegan los ninos. Juguemos a este juego sucio que jugamos diariamente en nuestros encuentros. Pero que no sea un juego donde nos ocultemos. Este sera un juego en el bosque social en que nos movemos naturalmente donde la ambiguedad es la caracteristica basica. Esta ambiguedad senalada por el "todo vale." Nunca sabremos si este juego es verdadero o es un camino metaforico para llegar a una verdad que nunca aparecera. Nunca sabremos si esta obra es una comedia o una tragedia, porque las caracteristicas de una y de otra se iran alternando. Nunca sabremos si la comunicacion esta presente, si los personajes se aman, se odian, se aceptan o se rechazan. Como estaremos seguros de que la accion no surge de la memoria de un unico personaje? Como estaremos seguros de que los tiempos no se superponen?