SPELLING - SPELLING
SPELLING
Language Language is the set of words with which individuals of a people communicate with each other. It is said that a major identity cards of a group of people is their language. Whether we speak of languages \u200b\u200bspoken by millions of people, and Castilian or English, or dialects used by tribal groups to describe the wonders of everyday life, language is the tool that has given the human superiority over other species, transmit knowledge to enable a person to another or others.
every language rules contained in two disciplines are intertwined: the spelling and grammar. The spelling is concerned with the provision the signs of language-the letters and their modifiers, as the accent, the point, the comma-for the correct understanding of words, and ultimately respect to written language, the second is more complex because the relationship dictates between words to produce the sentence, the written version of our ideas, and concerns both the spoken and the written language.
spelling and grammar, then, the skeleton of the language. Are formally established by students of the language, but actually have its justification in the way people talk. Throughout the centuries, the language experience a true process of evolution that speech is fed the common man rather than the rules dictated by the philologists. The language mutates constantly changes its shape, because people enriched by adding words or by combining existing words imported from other languages \u200b\u200band sometimes even replacing words that are ignored by others that only have meaning for a group, a family or to for a single individual. Paradoxically, this process is often commonly referred to with the word degeneration.
Our language is English or Castilian if we consider the claim that reminds us that our language was born in the former province of Castilla. Evolved from the mixture afforded by many successive invasions of the Peninsula Ibérica, where today are the nations of Spain and Portugal. In order to lay the groundwork for what we know today as our language, it was necessary that the Romans took in possession of the peninsula in 218 BC, long before conquered by the Carthaginians. The Romans imposed a new name for the former Iberia, which became known as Hispania, and as expected, having been the attitude in the other conquered peoples, also imposed their language, Latin. This was made for mass use in the region and disappeared in a relatively short time all the Iberian languages, except Basque, which still is used today. Latin
would also disappear, because over the centuries the language also underwent the same transformation process which necessarily have to spend all human language. At first it was amended by the Iberian languages \u200b\u200bthat tried to replace, and the Romans established on the peninsula took a different accent to the original. The Latin spoken in the region gradually lost the use that gave fyv points, and articulated than the letter s. The f America, used as the initial letter of many words, became the h we know today. Words such as child and to their peers from Latin filium and facere.
These changes, originally due to popular usage of the language, became over time in major cracks in the way different peoples conquered by Rome all ended up speaking Latin. The original language remained unchanged, tied to their spelling and grammar rules with which even today is taught academically. But the language spoken in the street by merchants and farmers fed the peculiarities of each region and gave birth to several would be called Romance languages: Castilian, French, Italian, Portuguese, Romanian, Catalan and other less known as the Dalmatian-now-dead language, Sardinian or Provencal. These languages \u200b\u200bstarted their own development processes, freely, from the V century, when down the Western Roman Empire. In 415 AD
come to the mainland one hundred thousand Visigoths, who had the most advanced civilization Germanic. The influence of culture in our language was relatively small because more than a century remained reluctant to make contact with other nearby towns. Of them retain some words that automatically recognize today as ours and never think from the current German roots, and pride, clothing, garb and war.
In 622 the Muslim prophet Mohammed launches his people to a holy war in order to implement the doctrine of Allah as contained in the Koran. Muslims were warriors fierce and soon came to dominate large areas, penetrating even in Europe. In the Iberian Peninsula in 711 and came in a few years they completed the process of conquest of all its peoples, except for a small Christian book hidden in the northern mountains. These Christians would undertake a process called Reconquista, which got his goal after only eight centuries and whose heroic character is the famous Cid, Ruy (Rodrigo) Díaz de Vivar.
These eight years of Arab domination of English culture gave much of the elements that make up today. There was a period of continuous war and in times of relative peace were increased relations between the English and Arabic. There were groups of Arabs living between the English and vice versa as well as individuals of both peoples who embraced the religion of that history had placed as an adversary. The strong Arab influence that resulted from these relationships worked well in the language. This is how the vast majority of the names we use who were born in English-speaking countries have Arabic roots, and a high percentage of our words, especially those that start with the letter a, come directly from Arabic: mason, arroba, meatball, syrup, sales taxes, village.
La Reconquista was not an easy process, but do not wait long before earning his first victory, which was the establishment of the kingdom of Asturias in 718, after Don Pelayo defeated the Moors at Covadonga. The Christians were gradually regaining the territories that the Arabs had taken from them. By the end of the eleventh century, the province of Castilla, created after their territories were independent of dominance by the kings of Asturias and Leon, exercised political hegemony over other provinces Christian. Before Castile had been the main province of Navarre, formerly the Leon and Asturias much earlier. Each period was also the predominant language. Castilian was imposed when Castilla was able to reach the highest political importance, and finally began its evolution as a unifying language in regions where the Castilian kingdom fell to the Arabs of Granada and, moreover, gave new horizons English Christianity to annex the territories conquered in the Americas , both milestones in 1492.
the time it was reconquered Granada, Spain recovered and with it all, and the Castilian language was commonly used among the people and areas cultivated. In 1140 had already written the first great work in our language, the Song of the Cid, an epic poem that exalts the hero Rodrigo Diaz de Vivar. In the thirteenth century, the cult poet Gonzalo de Berceo, clergy educated in San Millán, challenged the use of Latin in the Church by writing his poetry in Castilian, language, and wrote, in which often the people "fable with, citizen." Around the same time, Alfonso X the Wise ordered the official use of Castilian in the drafting of public documents and historical records, work out above in Latin. This is recognized as the formal birth of the Castilian language.
The language and the writer
literary creation has been one of the most effective means for the dissemination of our language. In fact, it was long after the manipulation of language by ordinary people, the most influential factor in solidifying and dissemination of standards governing the language. Today, in addition to the literature and common speech, the language flows through the mass media and particularly in this decade begins to forget about borders to break large electronic networks led by Internet.
language
As the substance with which the writer works, it maintains a necessary connection with it. Although not a prerequisite for being a good writer, language proficiency provides a valuable weapon. It is not a prerequisite for several reasons, but particularly because the right way to write the words only covers the technical side of literature. The other elements of the literature does not directly depend on the language rules. The real importance of getting to know the language is the possibility of experiencing multiple forms of expressing feelings, narrating or describing the environment situations. For both sides, the ends are harmful: the writer who uses only creative factor at most be able to create material for reading for escape, for entertainment, which rests solely within the domain of language will become unbearable and his language is certainly far-fetched, the writer succeeds in establishing a linkage equilibrium between what he writes and how he writes, will be able to generate a set of interacting with their readers. This is, in our opinion, the best way of making literature.
In our time, Castilian has established itself as one of the major languages \u200b\u200bof the world. He taught at universities in English speaking countries and the disproportionate population growth in the Hispanic settlements in other horizons has unexpected weight to our language. However, this has turned into Castilian in a body of rules loaded not simple to learn, what are the difficulties caused by the very fact of being in constant evolution and boiling.
Our language, like several other Western languages, is based on twenty-six letters, we have here the letters ch and ll-and several punctuation marks. Each of these letters has its own rules of use, so do the signs. The letters give us the basic foundation of what is said and signs are switches that help to give the correct idea of \u200b\u200bthe tone in which words should be pronounced. The emphasis
The rules are simple to learn the accent. Accent is known as the sign that sits on some vowels to indicate a certain intonation of a word. But the real concept of stress is beyond the sign, branching academically orthographic accent, which is written, prosodic accent, simply focus on the intonation of a syllable. This is the most important to know, since learning to locate the syllable in which each word is pronounced with more emphasis provides the ability to know when the emphasis should be written and when not.
All words containing a syllable in the intonation should be higher. This happens because the dynamics that the language acquired in the speaker's mouth: it is unusual to say all the words in a monotone. The appearance of the orthographic accent, the little appendix we usually put on some vowels, is that, in the words you type, the intonation may take one or another meaning, or give real meaning in one case and annihilate any meaning in another. If we write pain anyone can understand, if we add an accent and type pain, and actually speak with greater emphasis on the first syllable, all significance disappears. When someone writes ended anyone can understand that something came to an end, if you type the term, the reference is to the very end, and no action to reach that end. If we understand these simple facts we have uncovered the first step to master the accent.
other hand, words are divided into syllables. The syllables are molecules of words. If we recall some foundations of physics, a molecule is the smallest particle that retains the existing elements in a substance. In the words there is an essential element: vowels. The consonants are a complement to the former, but not needed in all cases. The words that have only one vowel letter are all, as the conjunctions "or" and "e" or the preposition "a". Even if the letter "y", which can be used as a conjunction, it loses its feature of consonant when pronounced alone, recovering when the main part of a syllable, as in a helmet or leguleyo. So the location, in a word, syllables, is given by how the word is pronounced. There are minimal pauses, almost imperceptible, occurring as we speak, and are literally the boundaries between syllables. When we have doubts about the syllables that make up a particular word, they are dispelled when pronounced slowly. These boundaries appear neatly sensitive and takes the concept of syllable finally form. The words of our language are usually one, two or three syllables, being less frequent than four, five or more. Not so in other languages: German is nourished by the union of several words to create expressions that we would be very long. In Castilian, any known words of many syllables, a large percentage of them are compound words. Submarine, bittersweet, basically, and in general all the words that define how something happens, ending in "mind." We have already covered the second step.
If we listen, we can find, in every word we utter a syllable in which the voice rises a bit above the rest. To this the scholars have given syllable name, it is the syllable that carries the responsibility for determining the meaning of the word, so we discussed a few lines above. The difference syllable word which belongs to others with similar spelling. The successful location of the stressed syllable of a word is a necessary exercise to finish learning the rules of accentuation. In our language we raise the tone of most of the words in the last or penultimate syllable. If we review all the words ending in "ion"-action, organization, illustration, "or ending in" structure "-height, culture, polishing," we can get an idea of \u200b\u200bthe importance of this fact given the amount Word of this nature that we use daily. They are also very common, though in smaller numbers, words which is the penultimate syllable, as oval, rough, or syllable, and many verb forms when they vote in the second person, and use it, praise him or tie it. In our language, syllables are not used beyond the penultimate syllable, except in certain cases of compound words that, if properly analyzed, are a kind of double accent, as "especially" en cial and mental.
These differences between the position of the stressed syllable in each word occupies a classification allows for three types of words. In the words we speak with higher pitch on the last syllable is given the name of acute, those with this tone on the penultimate, bass (also known as "plain"); and those on the penultimate pitch, proparoxytone. Are sharp words and truck stop, but it is written with an accent and that not because we give them both more intonation on the last syllable. Are severe (flat), under the same conditions, the words pen and orchard. The proparoxytone, all proparoxytone, are written with an accent, so they are the easiest to spell. The same word is antepenultimate antepenultimate. The third step is covered.
But the problem with all this is not simply knowing what the stressed syllable of a word, but in knowing when the focus should be written. It is logical but not know which is the stressed syllable of the word "treatment" does not matter because that word has no accent spelling and no one will realize our ignorance. The fact is that words must lead orthographic accent and if you put bad or obvious, we not only betray our ignorance in front of those who do know the rules of accentuation, but also give a wrong idea of \u200b\u200bwhat we mean.
The presence of the orthographic accent is determined by the existence of certain features in the syllables that make up a word. In the case of sharp words, the easiest rule to remember is that every word which is stressed syllable the last, and end in a vowel, is written with an accent. This can be simplified as follows: every word ends in a vowel acute accent is written. That is why the words are emphasized peanuts, I cried and sharpened. The other rule concerning the words that every word sharp is sharp, and ending in "n" or "s" is written with an accent. The sharp words ending in r, as verbs, close, kill, rain-not with an accent, it does not end in "n" or "s". It is useful to know this, because they often make the mistake of writing "capable" when, not ending in n, s or vocal, not really wearing it. Many people, when you learn these two rules, he is surprised that something so simple be shunned consistently regarded very complex.
The serious case of words (plain) is opposite. The two rules that apply to the sharp words are a mirror when it comes to the serious (flat). In the words severe (flat), the rule of thumb is that any serious word (level) is written with an accent, unless it ends in a vowel, "n" or "s". Therefore, the accent is written in the words gun, pumice and lemur. Similarly, for the same reason, and contrary to what many people think, not emphasizing the word "canon". Nor are accented verb forms such as conducted, managed, arrived, many written accomplished, attained or arrive mainly because words are often confused with acute that if you emphasize, as realization.
Now that we understand these rules concerning the words high and low (flat), and recalling that absolutely all proparoxytone are written with an accent, we've already covered the fourth and most important step in learning the rules of accentuation.
The fifth and last step is referred to the exceptions. It's really complex, because most of the exceptions to these rules apply to specific cases and not always so clear. Generally, exceptions are given emphasis by the existence of words with two or more meanings. The words of this type are easier to recognize monosyllables. These usually are not emphasized, it is considered unnecessary to write the accent on a word consists only of one syllable. The word was, he gave and was not written with an accent, unlike what most people assume. Example take But a word "over", so writing, with emphasis refers to an addition or a greater amount of something. But when you write without an accent is a synonym, often used in literature, "but." The same happens with "you" (a second person pronoun as in "I give you a song") and the time of "tea" (drink). In words with more syllable, the clearest case is "only" (synonymous only) and solo (unaccompanied by any other person). Interrogative forms their accents also add to the words that they use "as" without an accent, is used to compare two or more elements (was red like blood), but when I typed "how", with the accent something is going to inquire. This is separate from that in prayer there are question marks: an accent spelling the word "how" in these cases: "How are you?" and "I'll tell you how I got here." Although the second sentence is not a question but a statement it contains an interrogative form. These same examples are valid for "who and who," when and where "," where and where "," what and who. "
's case because "it also presents some peculiarities worthy of study." Because "is a compound word, created by" and "the". When both are written together, "because" is a conjunction that precedes the reason or cause of something. We say, "we were late because there was so much traffic." Two words are joined by "because", the second an explanation of what happens in the first. But there is a case in which this word is written considerable, and it is when it works as a synonym for reason or motive. This tends to confuse people with the former sense, but in reality the difference is in the context of the sentence. "Why" accent is used, for example, in this case: "The teacher explained the reason for the low notes of the course." Which could not be confused under any circumstances, with a conjunction that precedes the reason or cause of something. Separated by "and" which "are used for other purposes. "Why" without an accent, is used to express the intention of something happening in a certain way. For example, you can use: "My best wishes for having a happy Christmas." Also, "The officer must ensure that compliance with the law." When you write "what" accent, serves as a form of a question to inquire the cause of something. As mentioned in the preceding paragraph, a sentence in interrogative form does not necessarily question marks. These are interrogative sentences, using "why", the following: "Why are you at this hour?" And "The Lord asks why there is room."
An exception should not be overlooked is that applied when the words this, this, that and their plural replace the subject in a sentence, with the express purpose of not reappointing the subject. Typically these words are not emphasized, "this" should be written without the accent in "this car is mine." But in this case: "There was a red and white car, this was the one I bought" the accent is written because "it" replaces the white car. Something similar happens with him and him: the first is written without an accent when it comes to item (the car) and with the accent when it replaces the subject (he arrived yesterday). We also note that with your (home) and you (you have something) and my (my notebook) and I (that is for me).
There are two important exceptions and deal with the serious words (flat). We have seen that they have no orthographic accent when they end in a vowel, in not s. To understand the next If you need to know which vowels are divided into two groups: open and closed vowels. The open is the a, e and o. The enclosures are i and u. When the word grave ends in two vowels, the first closed and second open, and the stressed syllable is closed, we write the accent. This is the case of "eating, sleeping or pick." The other major exception words that we discuss here is related to words that end in us being a consonant letter before them. For example, biceps or forceps. Although serious and ending in s, are heightened because the letter before the s is a consonant, both p.
Correct use of letters
The hardest part of spelling is to learn the correct use of each letter. Many of the letters of our alphabet have specific uses and although in principle should be applied much effort to learn these rules, after a while it becomes an interesting exercise as we see examples everywhere. The problem is that in our language there are letters that are pronounced very similar but used differently according to the environment in which they are embedded. Particularly in Latin America, has lost the difference between the pronunciation of the letters "c", "z" and "s" and the letters "b" and "v", and a case of "g" and the "j".
In the case of the c, z and s, it would be difficult for someone inexperienced to know if the word should be written pacer pacer, or Pazera Paser. To resolve this has created certain rules whose degree of difficulty is in abundance and not otherwise. We will cite here some of these rules for reference only:
The c: verbs with endings make, receive, and grant that, nouns ending in murder, Catholicism and larceny, some ending proparoxytones: accomplice, whale and lawful, many words ending in reasonable, prosecute, lazy, malicious, baldness, view the words that end in abundance, warning, the plural of Words ending in z: pencil, pencils, peace, peace.
The s: words that end in: a lot, Dante, moderation, despotism, crisis, the adjectives famous, decisive Nicaraguan feminine nouns ending in mayor, witch, endings of words as the conclusion, propulsion ; combinations incorporated in some inflected forms: waterfalls, covered; the words that contain the segment combinations, sign, and, of course, as final letter of the words most Spaniards. The
z derived from nouns in slam, molasses, cornfield, grassland, castizo, shed, drawbridge, pozuelo, pot, many sharp words as foreman, widowhood, worm, rice, arquebus inflections for verbs ending in Nazca, suffer, you know, I drive.
The h: when it comes to words starting with hyaline diphthongs, ice, bone, elusive, hyoid bone, in the words that begin as a human, horror, shoulder, in the words that begin with Greek roots, such as hippopotamus, hydrography hypertrophy, hypnotic, is maintained in the derivatives of words like car, threading, dizziness, rogue, craving, inhuman.
The b: Words ending in receiving, weak, nauseous, which combinations are hazy, profanity, cable; copretérito forms of first conjugation verbs such as begging, hechizábamos carried out, those that begin with the prefix bilingual bisector, cake, the words that begin with Buddhism, bubbles, search, the words that begin with object, abstracted.
The v: words that begin with drift, vertebrate, lobby, in the present indicative, subjunctive and the imperative of the verb to be, go, go and have: we, I, words preceded by the consonants n, dyb: invitation, warning, ignore, after deer, servant, service, divine, drawbridge, words ending in herbivore, misleading, substantive and adjectives in digs, including, cam, serious, negative, harmful, nine.
The g: Words ending in agency, urgent, words that begin with the prefix geo (earth): geography, geology, verbal infinitives ending er, go, how to choose, edit, predating regent, gesture on adjectives ending in the twentieth, trigesimal, firstborn octogenarians, in words that end like magic, praise, religion.
The j: nouns ending in gear, watches, counselor, foreign, in the past tense of the indicative and in the future and imperfect subjunctive of verbs bring and say you brought, said, would bring, we said, bring, say, draws, shall say, in verbs ending in ger, gir change the g to j before ayo: to collect, edit, pick up, correct, collect, correct, before a, or , u, as in nice, hump, minstrel, browse and blush verbs derived from leaf and red.
The m: before p and b: December, man, country, met, before n: student.
The r: is loud when used as the beginning of word: eating, fast, simple written, although it's hard, after consonant: entanglement, underlined, is written twice, to produce loud, between vowels: paddy , cart.
The x: in training of the prefixes ex (out) and extra (plus): out of time, extraordinary.
The ll: in the formation of words that include the particles alley, camel, bellows, bird, cage.
is important to know that all these rules have some exceptions and also some additional specific uses those shown here. But this text is not intended as a guide on this, but just a simple comment, we invite readers to reflect on these issues rigorously by comparisons with texts you have on hand, or even a dictionary.
Punctuation
The third element to analyze in all this are the punctuation marks. Together with the written language with the idea of \u200b\u200brepresenting the speed differences or intonation that we do in the spoken language, the best known are the point, the comma and question marks and exclamation. They are the easiest to use.
The comma (,) is the representation of a short break we would do if the written sentence was pronounced. It is used to join elements of a description and is removed when it reaches the final element and should be used the conjunction "and" the house, trees and cars. It would be incorrect to write the house, trees, and cars. Also, when you say several short sentences in the same sentence should be separated by commas: "desperate cries, tearful faces, limbs rigid: it was the desolation." Coma is also used when constructing a sentence in the manner of ancient Latin vocative: "Robert, runs home." This also implies the use of comma in the sentence "runs, Joseph, runs." It is also used when you omit the verb: go to the beach, you too (we say that the verb is omitted because the phrase is a shorthand way of saying go to the beach, you will too.) Also, when inserted a sentence explaining something that has to do with the property that serves as: the doors of City Hall, said the mayor, will be open. Coma should also be used when transposing the elements of a sentence: in the early hours of the morning, I read it. And finally, when you type an adversative conjunction: the parcel arrived, however, were some objects.
The semicolon (;) defines a longer pause than a comma. Is the average between the break represented by the comma and represented by point. Usually separate sentences in the opposite direction (everyone agreed on the need to tell the truth, except Peter, the pathological liar) or, being long, keep each other closely related (and never again bear the burden foul smelling of my dirt and my drunkenness, and you store all day, smelling of cedar corner Perijá). The semicolon is also used to separate ideas when they serve to explain the elements of a description (the blue eyes and large, the mouth, fleshy and provocative, hands, white and soft). It also is used before then, however, and notwithstanding, and less frequently before but and more (his statements are true, but lack any effectiveness).
The colon is a slightly longer pause than the semicolon serves as notice that a phrase should be taken into account to understand the above is to be pronounced (I understood then, had reached my end) or make a quote (Bolivar said: "Morality and enlightenment are our primary needs), and to mark the beginning of a list (there were many people, from traders to sailors, from children to elderly, from doctors to farmers). Importantly, the presence of the two points does not mean that the next word should start with capital letters. This is a common mistake.
break point represents the longest of all. Marks the end of a sentence and the beginning of another. Also used to indicate an abbreviation, except when it is short of some unit of measurement.
Other punctuation marks for more specific uses:
Exclamation and question: identify an exclamation or a question directly. Written to open and close the exclamation or question: Is fast approaching? Coming! The presence of the exclamation point or question implies that if at the end of a sentence, the point disappears absorbed by the already includes the sign on the bottom. This does not happen when the sign is to be followed by a comma or any other, and maintained.
Parentheses: opening and closing using an expression that expands the possibility of understanding a specific phrase. The man walked (never run) as fast as he could.
Quotes: highlight words or money (called "dotol") and reproduce quotes (he said, looking at me: "They have nothing to do"). Also enclose titles of parts of works, journals and newspapers. In some cases indicate that a word is being used abroad. It's a mistake to use the quotes to highlight the importance of a particular phrase.
dash: used to indicate the emergence of a dialogue in text or parentheses, enclosing itself within a phrase that serves as principal. In the first case, the hyphen is placed at the beginning of the paragraph and not closed at the end of the dialogue:
"Tell me what you think, sister.
This phrase can in turn be interrupted by the narrator adds a new dash, which will close only if the sentence contained in it is not the end of paragraph:
"Tell me what you think, sister," said the child, tears in his eyes, got me worried.
As we see, remains the presence of any punctuation mark, in the absence of the script had been placed at that point in the sentence. The third case is when the phrase is inserted into the dialogue ends the paragraph:
"Tell me what you think, sister," said the boy.
In the latter case, the script does not close, because the point and in addition serves to close automatically.
When the script works as an aside, the syntax is basically the same commentary. Add that in the latter case, the script fails to close when it is a semi-tracked or a full stop, unlike the previous case, which stops close only to stop.
Short Screenplay: separating the syllables at the end of a line. It is also used in the writing of compound words apart.
Umlauts: two points that are placed on or when it is between "g" and "e" or "i" (Aragua, Güiria).
Keys: Group Content in tabular form.
Square brackets indicate that what is contained in them may be out of the speech, is being declared out of context.
Asterisk: a call then the reader must follow the end of the page or text. DIGITAL LIBRARY CITY
SEVA
Thursday, April 21, 2011
Do You Wear Underwear With A Singlet
BRIEF HISTORY ... WITHOUT WORDS ...
worth mentioning that, "Haber" is a verb, "to see" is watching, "haver" does not exist. "There" is there, "There is a place," Ay "is an exclamation and" ahy "does not exist. "Hague" is there, "Halla" is to find, "There is a place," haiga "does not exist. "Iba" is to go, "Iva" is a tax and "Hiba" does not exist. "Fence" is a large sign, "Go" is to go and "berry" is a fruit. Campaign Against Ignorance: Paste this into your wall.
worth mentioning that, "Haber" is a verb, "to see" is watching, "haver" does not exist. "There" is there, "There is a place," Ay "is an exclamation and" ahy "does not exist. "Hague" is there, "Halla" is to find, "There is a place," haiga "does not exist. "Iba" is to go, "Iva" is a tax and "Hiba" does not exist. "Fence" is a large sign, "Go" is to go and "berry" is a fruit. Campaign Against Ignorance: Paste this into your wall.
Buy Expensive Coffee Tables
Another trip to the fiction .- Mario Vargas Llosa
2011: another trip to
fiction "(...) In any case, one thing is universally known: the fiction, that other reality invented by man from his experience as lived and mingled with the Yeast their unfulfilled desires and imagination, with us as our guardian angel since there in the depths of prehistory, began the winding road that, after millennia, it would take to travel to the stars, to dominate the atom and impressive triumphs in the realm of knowledge and destructive brutality, to uncover human rights, freedom, to create the sovereign individual. Probably none of these discoveries and developments in all domains of experience would have been possible if, looking at our back millions of years ago, there we discovered to our ancestors from the time of the cave and the club, given to the naive and child initiative surely when, in the finest hour of panic, the dark night, pressed against other human bodies for warmth, were put to wander, to travel mentally, before the expiration of the dream, a different world, a life less arduous, less risk, or the most awards and accomplishments that allowed lived reality. This mental journey was, is, the principle of the best that ever happened to human society ... (...) "Mario Vargas Llosa
in The Journey to fiction. The world of Juan Carlos Onetti. Alfaguara, Montevideo, 2009.
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2011: another trip to
fiction "(...) In any case, one thing is universally known: the fiction, that other reality invented by man from his experience as lived and mingled with the Yeast their unfulfilled desires and imagination, with us as our guardian angel since there in the depths of prehistory, began the winding road that, after millennia, it would take to travel to the stars, to dominate the atom and impressive triumphs in the realm of knowledge and destructive brutality, to uncover human rights, freedom, to create the sovereign individual. Probably none of these discoveries and developments in all domains of experience would have been possible if, looking at our back millions of years ago, there we discovered to our ancestors from the time of the cave and the club, given to the naive and child initiative surely when, in the finest hour of panic, the dark night, pressed against other human bodies for warmth, were put to wander, to travel mentally, before the expiration of the dream, a different world, a life less arduous, less risk, or the most awards and accomplishments that allowed lived reality. This mental journey was, is, the principle of the best that ever happened to human society ... (...) "Mario Vargas Llosa
in The Journey to fiction. The world of Juan Carlos Onetti. Alfaguara, Montevideo, 2009.
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2010 Descente Ski Jackets
The mediator
no right
Buh! I'm the mediator. I will devour.
Those who, among other obligations of academic life and work, we are teachers and grew up in a democracy, we learned to love the French Decalogue Daniel Pennac we learned in school and we love to spread among students:
Reader
rights
1. The right not to read.
2. The right to skip pages.
3. The right not to finish a book.
4. The right to reread.
5. The right to read anything.
6. The right to bovarysme (textual transmitted disease).
7. The right to read anywhere.
8. The right to browse.
9. The right to read aloud.
10. The right to remain silent (Cancelled by order of entry "Hippie" of this blog, where, precisely, we argue that the sense of reading is built from the conversation about what was read.)
Pennac, Daniel (1992 ): As a novel, Madrid, Anagram, 1996. A pathetic translation Gallimard Jeunesse (Youth Gallimard) with innmejorables great Quentin Blake illustrations can be seen here: But as the short-lived and hippy haunt Pistols always ended my love affair with Pennac. Do not confuse the terms, not the same freedom that license, as they say our elders. No, no, no. Not lie again, just to play this evil text among students and short course and cursotes all about reading.
particular, I will concentrate on the point The right not to read. It's a great scam! Sure, says Gallimard Jeunesse, do not mock those who do not read or not read, but we can not leave things well alone for fear of invasion freedoms of others. No, no, no. We replace the right not to read, which excludes us, that leaves no insurmountable read in limbo, for the right to have a mediator.
Everyone, absolutely everyone, we have the right for someone to lead us into reading and manages us that decrepit and exclusive right to read. Could (should) be a teacher, a teacher, we recommend newsagent popular edition of the Decameron (one of the texts most profitable in terms of number of pages / price), an old friend reader, a blog, a mine that a chat rises, a guy who wants to excel at a gathering of friends and throws book titles, a clown who gives little poems photocopied in a fair, a good librarian after you you can not get rid of them, the bookseller in the neighborhood (so you can not get rid of them), a showgirl naked in the magazine Caras said he reads Nietzsche (sic) (Will you keep it up ?). The mediator is there and, like evil, takes different forms.
We have every right in the world to the mediator devouring us and we install in a less free.
mediator action
The Plain
jokes - Lagostina
no right
Buh! I'm the mediator. I will devour.
Those who, among other obligations of academic life and work, we are teachers and grew up in a democracy, we learned to love the French Decalogue Daniel Pennac we learned in school and we love to spread among students:
Reader
rights
1. The right not to read.
2. The right to skip pages.
3. The right not to finish a book.
4. The right to reread.
5. The right to read anything.
6. The right to bovarysme (textual transmitted disease).
7. The right to read anywhere.
8. The right to browse.
9. The right to read aloud.
10. The right to remain silent (Cancelled by order of entry "Hippie" of this blog, where, precisely, we argue that the sense of reading is built from the conversation about what was read.)
Pennac, Daniel (1992 ): As a novel, Madrid, Anagram, 1996. A pathetic translation Gallimard Jeunesse (Youth Gallimard) with innmejorables great Quentin Blake illustrations can be seen here: But as the short-lived and hippy haunt Pistols always ended my love affair with Pennac. Do not confuse the terms, not the same freedom that license, as they say our elders. No, no, no. Not lie again, just to play this evil text among students and short course and cursotes all about reading.
particular, I will concentrate on the point The right not to read. It's a great scam! Sure, says Gallimard Jeunesse, do not mock those who do not read or not read, but we can not leave things well alone for fear of invasion freedoms of others. No, no, no. We replace the right not to read, which excludes us, that leaves no insurmountable read in limbo, for the right to have a mediator.
Everyone, absolutely everyone, we have the right for someone to lead us into reading and manages us that decrepit and exclusive right to read. Could (should) be a teacher, a teacher, we recommend newsagent popular edition of the Decameron (one of the texts most profitable in terms of number of pages / price), an old friend reader, a blog, a mine that a chat rises, a guy who wants to excel at a gathering of friends and throws book titles, a clown who gives little poems photocopied in a fair, a good librarian after you you can not get rid of them, the bookseller in the neighborhood (so you can not get rid of them), a showgirl naked in the magazine Caras said he reads Nietzsche (sic) (Will you keep it up ?). The mediator is there and, like evil, takes different forms.
We have every right in the world to the mediator devouring us and we install in a less free.
mediator action
The Plain
jokes - Lagostina
Mariana Blog
Tuesday, April 19, 2011
Emo Bracelet Meanings
"More kid things"
a child was to a school that was next to the Plaza de las Tres Cruces. Passed very close to tram and the kids, sometimes they brought us nails and toes of our homes for them on the road. After the passage of the vehicle were completely flat and after sharpening with stones that we found made them in sword.
I remember the fields that surround Armilla. Eating beans, tender little tails of the vines, green almonds (which was called "Allos") and other unripe fruits such as plums and peaches. We also ate even the green ears and the truth is that, apart from once a cramp than another, we were so healthy and campers. I come now
images of yesteryear, like a good bunch of kids trolley poles uploads to see some of the movie summer movies ... (the stories "Romans" and "Indians and Comboys" I enjoyed and, perched on the stick) or that other, which seems to me to relive it again now, going I walked with my friend Juan Morillas from the tram station of Armilla to Churriana, stooping occasionally to put the ear on the road if approached by .... In short stories of no importance in an era that, although I realize now that was hard and difficult, but I remember bright and happy, thanks to the immense magic of being a child.
Photo: "Children modelers in the field of aviation Armilla"
Years 40. Photographic Emilio Atienza.
For Morocco Rodríguez Welcome
a child was to a school that was next to the Plaza de las Tres Cruces. Passed very close to tram and the kids, sometimes they brought us nails and toes of our homes for them on the road. After the passage of the vehicle were completely flat and after sharpening with stones that we found made them in sword.
I remember the fields that surround Armilla. Eating beans, tender little tails of the vines, green almonds (which was called "Allos") and other unripe fruits such as plums and peaches. We also ate even the green ears and the truth is that, apart from once a cramp than another, we were so healthy and campers. I come now
images of yesteryear, like a good bunch of kids trolley poles uploads to see some of the movie summer movies ... (the stories "Romans" and "Indians and Comboys" I enjoyed and, perched on the stick) or that other, which seems to me to relive it again now, going I walked with my friend Juan Morillas from the tram station of Armilla to Churriana, stooping occasionally to put the ear on the road if approached by .... In short stories of no importance in an era that, although I realize now that was hard and difficult, but I remember bright and happy, thanks to the immense magic of being a child.
Photo: "Children modelers in the field of aviation Armilla"
Years 40. Photographic Emilio Atienza.
Wednesday, February 16, 2011
How To Reinstall Wireless Driver On Laptop
"Garcia de Viedma HOUSE, THE BIG HOUSE."
For
By Juani Muñoz Vico.
Armilla I arrived 30 years ago. I remember that time were almost all old houses, such as farmer's house. Bungalows with patios behind. Almost all alike. But there was a different house. A house that from the beginning caught my attention. A big house they called "that of Vedia" and was just behind where I lived, and where I live in the Place de la Aurora.
For life circumstances had access to the "Casa Grande "(I always called it that) that caused me so much respect. The home of Mr de Viedma, Doña Lola, I proposed to work there two or three days a week so soon I joined her for the first time. The lords, owners of everything, I was greeted with much love, but with whom I worked always, a six or seven years, was with Mrs. Lola and Mr. Alexander, a good man of great heart.
I remember like yesterday when I first walked through the huge wooden door of the entrance. The red tiles of the hall and around a large courtyard filled with pots of ivy and pilistras. A beautiful courtyard surrounded by columns, stone pavement in the center and a well. It was a place that I always conveyed a sweet sense of peace. A special peace and tranquility. Later, I feel the happiest woman in the world when in the summer, evening, flushing the soil, watered those plants and they, in turn, I was surrounded with a green embrace of life and freshness.
I remember the top. The turret and a very long corridors, giving the courts, as a yard. Mother!, ... The house was huge! .. "And you'll gradually" said Ms. Lola. Downstairs, at the bottom right and after passing a small courtyard and a gate was left to old corrals with cows milked that Ms. Lola and whose milk is sold, rabbits, chickens and pigs a few gleaming with forgiveness. But of all this, which I will never forget the precious peacock that lived there too. Mother! ... When I saw the animal in all its splendor, when the turkey, yet elegant, magical and displayed his splendid tail nearly two meters in many colors ... I think the time was one of the most beautiful gifts you gave me life.
remember wicker baskets full of freshly picked eggs, donuts for week Santa, the black pudding and sausages from the time of slaughter that would give me. I remember, during those years, when after work, the times that we had coffee together Ms. Lola and I in that kitchen under one roof in strings of peppers, onions, and garlic pussy, talking about our stuff. Sometimes I think that Paradise will be something like this: A hot coffee slowly taken in good company, a cozy kitchen products under the earth.
Today, ; step ahead of the home of the Garcia de Viedma, which now houses a fantastic library and a museum and an exhibition hall and do not know how many things ... I think for me will remain the "Casa Grande", the home Ms. Lola and Mr. Alexander I opened with his heart. Thanks. Thanks also to Mr. de Viedma. Thank you all for letting me share a little of his "Casa Grande."
Thanks.
Thanks.
... ... ... ... ... ... ... ....
Tuesday, January 25, 2011
How To Make Pakistani Clothes
kid things.
Welcome Morocco Rodríguez.
In winter I was always hoping for rain, in large puddles produced in calle Granada, Armilla children we were doing to make "tables." These consisted of one species of prey that we produced on the basis of land to the sides of these pools, so that the street was filled with the sort of "lakes" artificial. Unfortunately the "tables" lasted very little because the garbage trucks always ended up breaking .... the fact that we do not matter much because, with the tireless energy of children, we returned to build new ones.
Gabia On the road to the bridge the ages, played the drums. We took a twig of olive. Escarbábamos then the heated tar on the road (this activity, of course, we carried out in summer when the asphalt is softened with heat). Then it was a matter of modeling a brown ball well with your hands (after battering the ball on the ground, of course, to keep it free), take a large can of tomatoes and such ... hala, to drum! .
Speaking of cans also remember how we manufactured carbide homemade missiles. I got into a can, which we mixed with water, we closed the boat, lit a fuse .... and ...¡¡ direct rocket to the moon! (Or nearly .)
Another of my memories as a child, even in summer, was when, stuck in the ditch knee or until almost the waist (depending on age and height of the child in question) we went from the church of S. Miguel to Churriana or when going to swim to the "Dam Bad" (which was situated on what is now the school "Julio Rodriguez."
F Photographs: "Children of the Road neighbors of his family Gabias .. 1952 Armilla." Pepe Morenilla file.
Tuesday, January 11, 2011
How To Get Credits On Poptropica For Free
The teaching of wonder: the training of teachers in the field of poetry Arturo Santana
National Pedagogical University Test
First National Congress:
chance to know you. . . Teaching of language, literature and communication
September 2005
The teaching of wonder: the training of teachers in the field of poetry
Arturo Santana
Poetry is a wonder precisely
the word level, which
occurs in the word and the word. Gaston Bachelard
Summary. Poetry can not be taught. This is a truism sure that the national education system has ignored despite several implications for graduate profiles of our students in regular education. The training colleges have been training the teachers of language and literature from a perspective that focuses on information theory and pedagogy, and the best knowledge of stages, processes, forms, structures, objects and literary phenomena. Largely absent in these processes of "training" is the dimension of creativity of applicants to the animation of poetry in the classroom. The act of placing the emphasis on informational and cognitive aspects of literary texts has become a mere reporting to the teacher and promoter of boredom. It is urgent transformation of the plans and curricula of teacher training, so that those responsible for the creative animation and recreational functions of literary texts in basic and upper secondary education, equip themselves with relevant essential to the creative dimension of students when it comes to literature. If teachers have not experienced a sustained teaching in the wonder of the word's origin, will never understand the sense of poetry as an object of creation and knowledge.
Borges puts it in the simplicity of a seer: "Poetry is. . . a new experience. Every time I read a poem, the experience happens. And that is poetry ".1 It is a feasible, a diálogo2 between two entities that match the intensity of a moment. One is the origin, the aesthetic experience captured by the writer, just as a glimpse of his perception defines an image not visible from the eye common but ephemeral all intuition, the other is the flame that "calls us to see for the first time" as claimed Bachelard.3 occasion or event for Wonder, the poetic experience is transferable to the extent that each who is responsible for the approximation to the original experience, without aspiring to cognitive apprehension, utterly impossible, but his recreation. This is the premise for considering teaching of poetry about the context of art education and a sense of the reflections of this writing, whose scope goes beyond stimulate reflection of teachers, especially when they embark on the adventure of language poetic provide some elements inferred by researchers and widely recognized poets to understand the curricular integration of art of poetry teaching demands a particular treatment against the intelligence and sensibilities alerts to breathe in the classroom, potentially poets conceive children, and adolescents, and therefore the teacher himself is conceived from this dimension, given that "the essential feature of teaching is the creativity", 4, and propose, in short, the didactic concept of wonder to designate a perspective of educational intervention with the poetic experience and object animation.
We seem to notice a problem fund if we recognize that the various access methods in school literature have overlooked the specific skills of teachers in the basic sense of poetry as experience humana.5 By framing the aesthetic phenomenon of poetry as a specific content a course run the risk of opening a field for consideration teaching: the teaching of poetry. The effect of this design lies in the approach to the poem as a linguistic object, its value as a historical phenomenon, its location as a cultural product, which undoubtedly are, but his original evidence of the existence of poetry in the world is associated with the human experience of awe. Well is that specialists investigate, interpret and understand many senses as open theoretical disciplines to learn that inexhaustible subject, but the poetic experience is in the path of life for everyone, from each one embedded in its culture. The oral tradition, for example, is a singular form that takes the poem, allowing the gradual process of integration of the child to the social context of their culture. The child has been touched by the aesthetic experience when entering school, the teacher is responsible to continue, expand, enrich the career options that continue, along with aesthetic experiences of other human manifestations, especially related to art.
The poem, as syllabus involves a kind of educational intervention to choose the most relevant text for the purpose of training, creating a favorable atmosphere for the reception, the live presentation of the poetic text, the time for the search intencionalidad6 the poet, the approach to tono7, reconstruction sentido8 unit. Failure to yield to the temptation to provide an educational project whose sequence includes scholarly explanation, the analysis tedious, mechanical transcription, culminating in the development of competition, nor to assume that at the end of the activity has achieved the purpose. The essential intention is to suggest anything, the context for meaning gradually give presentations and approaches to poetry, without more intelligence resources in tension and the free flow of creative imagination. The educational purpose is that the poetic experience with the simplicity occurs Borges.9 evoked by LS Vygotsky said this issue with the force of law and the certainty of one who could see in imagination the basis for artistic, scientific and technical: "the creative activity of imagination is in direct relation of wealth and variety of experiences of the man, because this experience is the material with which to erect their buildings the fantasía.10 Be warned, so the emphasis of the issue are the experiences that should lead necessarily unique educational intervention.
Moreover, the wide appreciation of poetry in the school curriculum is duly justified to the extent that "we grow spiritually, we fertilize, we as human dimensions, humanizes our senses." 11 If from the perspective of Chomsky normal language is innovative in the sense that much of what we say in the course of normal use of language is quite new "12, in the case of literary language acquires that quality highest expression in poetry. The innovative sense of language means, then, to think with words, playing with words, creating with words, inside and outside the classroom.
For his part, Howard Gardner summarizes comprehensive perspective on the meaning of art school: "The challenge in art education is an effective modular values \u200b\u200bof culture, the resources available for education in the arts and for evaluation, and individuals and developing individual profiles of students to educate. "13 Let's do an exercise:
HORAL
The sea is measured in waves, the sky
wings
us in tears.
air rests in the leaves, water
eyes
us anything.
appears that salts and soles,
us and nothing. . . Jaime Sabines
Where does this touch of fascination in reading this poem Sabines? I do not know, but a sign looms in the alliteration of that verbal tide is heard only in the movement of substances and then vanishes in that anything which is suspended the text. Untranslatable evokes anxiety in some corner of memory stirred up among the imaginary of the poet who reads. The predominant sound of the aes dumped in such a short rhythmic unit is associated with the wonder awakened in contrast of analogies to the finiteness of this man, whose dimension is grief. It is obvious biblical allusion of the original sin that we lacera with flashing going to come from air and water, the contrast between nature and humanity, for the elements. "If we read a simple poem, Octavio Paz warns our puzzlement disappears, no wonder our" .14 The intuition guide. A teenager may mumble a hermeneutical sense of the poem if left at peace with itself, if it has arranged a free atmosphere for the imagination, if the reading of the poem submission has been coated with the ease and simplicity of what is relevant, if breathing the freedom not to speak, but when he or she deems appropriate. Faced with the internalization of each student silence is often more appropriate attitude of the animator. The clutter of the imaginary time and silence demands for recreation.
The concept of poetry is basically referred to the original experience of the aesthetic event, oral or written, real or imagined, regardless of the forms it takes, whether in the plot of a legend, a story or a poem. The following quotations genres are not graze the margins of the essential and can confuse the meaning of the aesthetic approach to the phenomenon when the slogans of the educational intervention lead to the function referential language, just as the poetic function dominates the stage. Jean Georges notes on this: "The distinction between poems and stories is uncertain, especially when considering the archaeological past, says Michel Foucault." 15 It refers, of course, the prehistoric origins of poetry, deeply linked with the magical worldview of Paleolithic man, represented in song, music and danza16. From this follows the principle of combination, that is, ensure that the aesthetic experience includes images, sounds and actions of various artistic and cultural origin.
In the prelude to the selection relevant texts for translation teaching, the teacher must consider a typology of textos17, whose qualities are conducive to the educational purpose: belonging to the literary cultural tradition of the mother tongue of students in the first instance, and then to sample and examples of texts from other contexts of universal culture, its brevity, considering the emotional stress of the excitement of listening, fun in itself, the rhythmic play of the alliteration, the enjoyment of the findings, subjective reflection, assessment intentionality of the poet writer from the perspective of the poet reader, the testimonial nature of consciousness, without ignoring the fact that different emotions converge simultaneously on the hermeneutics of the experience phase, ie at the stage of the comprensión.18 The variety of tools for the exercise includes divination, belief, intuition, suspicion. All being in the thrill of an instant.
The word poetry is held on the origin of language, has a content rooted in the totality of being, an area the size of the fear of lightning on the terrible night, the potion venial of flame, a range that includes light absorbed in a horizon that is lost in the distance. "That means," Borges once we know what poetry is. What we know so well that we can not define it in other words, as we are unable to define the taste of coffee, red or yellow, or the meaning of anger, love, hate, dawn, dusk or love for our country. " 19 The symbolic reference of that experience is associated not only with the origin of this long chain of voices that are specified in the language but also the identity of the speaker. We are at the heart of the matter: the poetic experience is inseparable from the world of social and cultural representations of each person, so that children possess the basic elements for print and speech are usually in the middle of events potentially marked by poetry. Eliseo Diego so eloquently states:
. . . For me, poetry is at an early stage illumination of some aspect of reality that moves us, or startles, at this early stage we are all poets. Then, some are able to move the lit appearance subject to subject: in our case, the language actually matter. The transition has to be done with such delicacy is not lost even one of the countless suggestions living in the real, and not one of its many possible meanings. Only in this way can reach the third and final stage in which the poem reaches its final consummation: the communication phase of the enlightened, the reader, the other without which nothing would, recreating the original experience. . .20
unintentionally (and it adds a level consistent with the artistic sense of his works), both Borges, as Cuban poet foreshadow a path to the animation of the poem in the classroom suggest a route to identify from phenomenologically three moments of poetic experience, we provide the basis for teaching in amazement. The three moments must be satisfied that the event happens, all three steps must be taken to reach the final sense. If the first event, the lighting, it moves toward writing, experience is only within those who experience it. It in itself, but is depleted if no representation. And likewise, if the text that accounts for the original shock is not read, ie not housed in purpose of communication, there is no sense and is not an object but dumb, expectant. In turn, O. Peace warns: "... overcome with astonishment, not the spell, we find that the poem suggests another type of communication, governed by laws other than the exchange of news and information" .21 This "other communication" to be incorporated into be a teacher.
The teaching of wonder is proposed as a strategy to restore consistency 22 between the educational intervention and artistic nature of the purpose of recreation. Not conceive the administration of the poetic experience in the classroom as a literature class or a meeting to promote the attainment of a specific jurisdiction, but as receiving a lamp, this is the integration of knowledge, emotions and imagination of students to look beyond the common perception, considering the diversity of its social and cultural histories, since the emphasis in order to recover and identify with them to enrich and expand with the intensity of the new, unexpected, extraordinary.
The impact of poetic experience fostered by a unique and timely educational intervention frameworks beyond the precincts and school time, subverts the conventions and cliches of everyday speech, it enriches the meaning of the learning experiences of students, open an option for change to teaching practice. Hence, the creative act, half the time for the call lights, so that the experience transcends the siege of the routine. Our students demand the presence of a poet in the classroom, whose attitude to the poem touch the doors of creative imagination and the opportunity for the creation occurs. That seems to say the testimony of one who learns the rules of the game:
I feel
NECTAR a rose
time writing sometimes as a bee
dawn'm singing in a garden on the ground
light perfume. Andrea Silva
23
supporting literature ANDRICAÍN, Sergio and Antonio Orlando Rodríguez, School and poetry. What do I do with the poem? Buenos Aires, Location Editorial, 2003.
Bachelard, Gaston. The flame of a candle. Caracas, Monte Avila Editores, 1975.
Beuchot, Mauritius. Pedagogy. Magazine specializing in education. Mexico, National Pedagogical University, Third Age, Volume 10, Number 3, Summer 1995: p. 16-23.
BORGES, José Luis. Arts poetic. Six conferences. Barcelona, \u200b\u200bEd Crítica, 2001.
Chomsky, Noam. The language and understanding. Mexico, Editorial Planeta Mexicana, 1992.
DIEGO, Eliseo. Twenty-six recent poems. Mexico, Ediciones del Tightrope, 1986.
Gadamer, Hans George. Poem and dialogue. Essays on the most significant German poets of the twentieth century. Barcelona, \u200b\u200bEd Gedisa, 1993. GARCÍA
Padrino, Jaime and Arturo Medina Padilla.Didáctica of language and literature (Dirs.). Madrid, Anaya, 1989.
GARDNER, Howard. Art education and human development. Mexico, Editorial Mexicana Polity Press, 1998.
HAUSER, Arnold. Social history of literature and art. Madrid, Editorial Guadarrama, 1974.
JEAN, Georges. The paths of childhood imagination. The stories, poems, reality. Mexico, FCE Edition, 1990.
KAUFMAN, Ana Maria and Maria Elena Rodriguez. The school and the texts. Buenos Aires, Aula XXI / Santillana, 2001.
LOMAS, Carlos and Andrés Osorio (Compilers). The communicative approach to language teaching.). Barcelona, \u200b\u200bEditorial Polity Press, 1993. NAVARRO
Duran, Rosa. How to read a poem. Barcelona, \u200b\u200bEditorial Ariel, 1998.
PAZ, Octavio. The Double Flame. Love and eroticism. Barcelona, \u200b\u200bEditorial Seix Barral, 1993.
PORTUONDO, José Antonio. The concept of poetry and other essays. Mexico, Editorial Grijalbo, 1974.
ROCHA, Gilda. The poetry and textual interpretation. Mexico, National Pedagogical University, 1996.
Sabines, Jaime. Count poems. Mexico, Editorial Joaquín Mortiz, 1977.
Juárez Sánchez, José. A fun workshop. Reading and writing activities. Monterrey, NL Ediciones Castillo, 1998.
Santana, Arturo. "The pleasure of reading: literary workshops in Basic Education" in Praxis University. Journal of the North Central Region of the National Pedagogical University. Mexico, Year 7, No. 17, mayo.agosto 1999: p. 5-8.
TORRE, and Oscar Saturnino the Barrio (Coordinators), Strategies innovative teaching. Barcelona, \u200b\u200bEdiciones octahedron, 2002.
Skylight. Cultural entertainment magazine. Guadalajara, 3/número Year 29 June 2005.
Vygotsky, LS Imagination and art in childhood. Mexico, Hispanic Publishing and Distribution, 1987. Yuren
Camarena, Maria Teresa Yurén, "Teaching practice and science of man" in Vitral Teaching. Journal of the National Pedagogical University, Unit 212, Teziutlán, Puebla. Year 1, Number 1, October 1996: p. 39-50.
1 In "The Enigma of poetry," Poetic Art. Six conferences. Barcelona, \u200b\u200bEd Crítica, 2001: p. 21
2 As conceived Hans George Gadamer, "Poem and dialogue are extreme cases in the vast field of forms of language" in Poem and dialogue. Essays on the most significant German poets of the twentieth century. Barcelona, \u200b\u200bEditorial Gedisa, 1993: p. 144.
3 Gaston Bachelard, The flame of a candle. Caracas, Monte Avila Editores, 1975: p. 11. Yurén
4 Ma Teresa Camarena, "Practicing teachers and science of man" in Vitral Teaching. Journal of the National Pedagogical University, Unit 212, Teziutlán, Puebla. Year 1, Number 1, October 1996: p. 39-50.
5 See "The teaching of literature in the last decade" by Francisco Rincon in the communicative approach to language teaching. Lomas and Andrew Carlos Osorio (Compilers). Barcelona, \u200b\u200bEditorial Polity Press, 1993: p. 223-233. The contents
6 proposed by Mauricio Beuchot: "Have a sense of the events is to print our intention, where there is an intention there is a sense, and that is what characterizes human beings, which inhabit the world makes it so peculiar , surrounded by signs, whether words or symbols, "in" Subject and intentionality in the hermeneutic philosophy, pedagogy. Magazine specializing in education. Mexico, National Pedagogical University, Third Age, Volume 10, Number 3, Summer 1995: p. 16-23.
7 “En el poema no sólo se consuma la producción de sentido duradero en la palabra que se exhala, sino que en él adquiere duración la presencia sensorial de la palabra. . . la fuerza de la poesía lírica reside en su tono. . . en el poema, de muchas palabras y sonidos resulta una unidad que se distingue precisamente por la unidad del tono”, Hans-Georg Gadamer, Op. cit. p. 145.
8 “La pregunta por la unidad de sentido queda como una última pregunta por el sentido y encuentra su respuesta en el poema”, Íbid, p. 148.
9 En Arte poética. Seis conferencias, Op. cit. p. 21.
10 En La imaginación y el arte en la infancia. México, Ediciones y Distribuciones Hispánicas, 1987: p. 17.
11 Andricaín Sergio and Antonio Orlando Rodríguez, School and poetry. What do I do with the poem? Buenos Aires, Location Editorial, 2003: p. 17. A more complete list of this assessment can be found in "Teaching Literature" by Arturo Medina Padilla, included in teaching of the language and literature and Jaime García Padrino Arturo Medina (Dirs.). Madrid, Anaya, 1989: p. 511-534. 12 Noam Chomsky
in language and understanding. Mexico, Editorial Planeta Mexicana, 1992: p. 33.
13 In art education and human development. Mexico, Paidós Editorial Mexicana, 1998: p. 15-16.
14 At The Double Flame. Barcelona, Editorial Seix Barral, 1993: p. 12.
15 In The paths of childhood imagination. The stories, poems, reality. Mexico, FCE Edition, 1990: 92.
16 See José Antonio Portuondo, the concept of poetry and other essays. Mexico, Editorial Grijalbo, 1974. In his social history of art and literature Arnold Hauser presents a detailed argument on the origin of art that demands consideration of a comprehensive genesis of the human social practice. Madrid, Editorial Guadalupe, 1970, Vol I.
17 See, for example, the proposed Kaufman and Maria Ana Maria Elena Rodriguez at the school and the texts. Buenos Aires, Aula XXI / Santillana, 2001.
18 "at bottom, is only aware of what actually happens when something is offered to the understanding of someone, and when that someone understands, HG Gadamer, Poem and dialogue, Op. p. 144. 19 Arts
poetic. Six conferences, op cit. p. 34
20 Quoted by Elio and Gonzalo Garcia Diego Garcia Barcha in Eliseo Diego, Twenty recent poems. Mexico, Ediciones del Tightrope, 1986. The bold is mine.
21 The Double Flame. Op cit. p. 12.
22 A broad characterization of the concept innovation strategy can be found at Saturnino de la Torre and Oscar Barrio (Coordinators), innovative teaching strategies. Barcelona, Octahedron Editions, 2002.
23 "Born in Guadalajara and lives there. Nine years old and attends primary "in Skylight. Cultural entertainment magazine. Guadalajara, 3/número Year 29 June 2005: p. 39.
Return to Work>>>
National Pedagogical University Test
First National Congress:
chance to know you. . . Teaching of language, literature and communication
September 2005
The teaching of wonder: the training of teachers in the field of poetry
Arturo Santana
Poetry is a wonder precisely
the word level, which
occurs in the word and the word. Gaston Bachelard
Summary. Poetry can not be taught. This is a truism sure that the national education system has ignored despite several implications for graduate profiles of our students in regular education. The training colleges have been training the teachers of language and literature from a perspective that focuses on information theory and pedagogy, and the best knowledge of stages, processes, forms, structures, objects and literary phenomena. Largely absent in these processes of "training" is the dimension of creativity of applicants to the animation of poetry in the classroom. The act of placing the emphasis on informational and cognitive aspects of literary texts has become a mere reporting to the teacher and promoter of boredom. It is urgent transformation of the plans and curricula of teacher training, so that those responsible for the creative animation and recreational functions of literary texts in basic and upper secondary education, equip themselves with relevant essential to the creative dimension of students when it comes to literature. If teachers have not experienced a sustained teaching in the wonder of the word's origin, will never understand the sense of poetry as an object of creation and knowledge.
Borges puts it in the simplicity of a seer: "Poetry is. . . a new experience. Every time I read a poem, the experience happens. And that is poetry ".1 It is a feasible, a diálogo2 between two entities that match the intensity of a moment. One is the origin, the aesthetic experience captured by the writer, just as a glimpse of his perception defines an image not visible from the eye common but ephemeral all intuition, the other is the flame that "calls us to see for the first time" as claimed Bachelard.3 occasion or event for Wonder, the poetic experience is transferable to the extent that each who is responsible for the approximation to the original experience, without aspiring to cognitive apprehension, utterly impossible, but his recreation. This is the premise for considering teaching of poetry about the context of art education and a sense of the reflections of this writing, whose scope goes beyond stimulate reflection of teachers, especially when they embark on the adventure of language poetic provide some elements inferred by researchers and widely recognized poets to understand the curricular integration of art of poetry teaching demands a particular treatment against the intelligence and sensibilities alerts to breathe in the classroom, potentially poets conceive children, and adolescents, and therefore the teacher himself is conceived from this dimension, given that "the essential feature of teaching is the creativity", 4, and propose, in short, the didactic concept of wonder to designate a perspective of educational intervention with the poetic experience and object animation.
We seem to notice a problem fund if we recognize that the various access methods in school literature have overlooked the specific skills of teachers in the basic sense of poetry as experience humana.5 By framing the aesthetic phenomenon of poetry as a specific content a course run the risk of opening a field for consideration teaching: the teaching of poetry. The effect of this design lies in the approach to the poem as a linguistic object, its value as a historical phenomenon, its location as a cultural product, which undoubtedly are, but his original evidence of the existence of poetry in the world is associated with the human experience of awe. Well is that specialists investigate, interpret and understand many senses as open theoretical disciplines to learn that inexhaustible subject, but the poetic experience is in the path of life for everyone, from each one embedded in its culture. The oral tradition, for example, is a singular form that takes the poem, allowing the gradual process of integration of the child to the social context of their culture. The child has been touched by the aesthetic experience when entering school, the teacher is responsible to continue, expand, enrich the career options that continue, along with aesthetic experiences of other human manifestations, especially related to art.
The poem, as syllabus involves a kind of educational intervention to choose the most relevant text for the purpose of training, creating a favorable atmosphere for the reception, the live presentation of the poetic text, the time for the search intencionalidad6 the poet, the approach to tono7, reconstruction sentido8 unit. Failure to yield to the temptation to provide an educational project whose sequence includes scholarly explanation, the analysis tedious, mechanical transcription, culminating in the development of competition, nor to assume that at the end of the activity has achieved the purpose. The essential intention is to suggest anything, the context for meaning gradually give presentations and approaches to poetry, without more intelligence resources in tension and the free flow of creative imagination. The educational purpose is that the poetic experience with the simplicity occurs Borges.9 evoked by LS Vygotsky said this issue with the force of law and the certainty of one who could see in imagination the basis for artistic, scientific and technical: "the creative activity of imagination is in direct relation of wealth and variety of experiences of the man, because this experience is the material with which to erect their buildings the fantasía.10 Be warned, so the emphasis of the issue are the experiences that should lead necessarily unique educational intervention.
Moreover, the wide appreciation of poetry in the school curriculum is duly justified to the extent that "we grow spiritually, we fertilize, we as human dimensions, humanizes our senses." 11 If from the perspective of Chomsky normal language is innovative in the sense that much of what we say in the course of normal use of language is quite new "12, in the case of literary language acquires that quality highest expression in poetry. The innovative sense of language means, then, to think with words, playing with words, creating with words, inside and outside the classroom.
For his part, Howard Gardner summarizes comprehensive perspective on the meaning of art school: "The challenge in art education is an effective modular values \u200b\u200bof culture, the resources available for education in the arts and for evaluation, and individuals and developing individual profiles of students to educate. "13 Let's do an exercise:
HORAL
The sea is measured in waves, the sky
wings
us in tears.
air rests in the leaves, water
eyes
us anything.
appears that salts and soles,
us and nothing. . . Jaime Sabines
Where does this touch of fascination in reading this poem Sabines? I do not know, but a sign looms in the alliteration of that verbal tide is heard only in the movement of substances and then vanishes in that anything which is suspended the text. Untranslatable evokes anxiety in some corner of memory stirred up among the imaginary of the poet who reads. The predominant sound of the aes dumped in such a short rhythmic unit is associated with the wonder awakened in contrast of analogies to the finiteness of this man, whose dimension is grief. It is obvious biblical allusion of the original sin that we lacera with flashing going to come from air and water, the contrast between nature and humanity, for the elements. "If we read a simple poem, Octavio Paz warns our puzzlement disappears, no wonder our" .14 The intuition guide. A teenager may mumble a hermeneutical sense of the poem if left at peace with itself, if it has arranged a free atmosphere for the imagination, if the reading of the poem submission has been coated with the ease and simplicity of what is relevant, if breathing the freedom not to speak, but when he or she deems appropriate. Faced with the internalization of each student silence is often more appropriate attitude of the animator. The clutter of the imaginary time and silence demands for recreation.
The concept of poetry is basically referred to the original experience of the aesthetic event, oral or written, real or imagined, regardless of the forms it takes, whether in the plot of a legend, a story or a poem. The following quotations genres are not graze the margins of the essential and can confuse the meaning of the aesthetic approach to the phenomenon when the slogans of the educational intervention lead to the function referential language, just as the poetic function dominates the stage. Jean Georges notes on this: "The distinction between poems and stories is uncertain, especially when considering the archaeological past, says Michel Foucault." 15 It refers, of course, the prehistoric origins of poetry, deeply linked with the magical worldview of Paleolithic man, represented in song, music and danza16. From this follows the principle of combination, that is, ensure that the aesthetic experience includes images, sounds and actions of various artistic and cultural origin.
In the prelude to the selection relevant texts for translation teaching, the teacher must consider a typology of textos17, whose qualities are conducive to the educational purpose: belonging to the literary cultural tradition of the mother tongue of students in the first instance, and then to sample and examples of texts from other contexts of universal culture, its brevity, considering the emotional stress of the excitement of listening, fun in itself, the rhythmic play of the alliteration, the enjoyment of the findings, subjective reflection, assessment intentionality of the poet writer from the perspective of the poet reader, the testimonial nature of consciousness, without ignoring the fact that different emotions converge simultaneously on the hermeneutics of the experience phase, ie at the stage of the comprensión.18 The variety of tools for the exercise includes divination, belief, intuition, suspicion. All being in the thrill of an instant.
The word poetry is held on the origin of language, has a content rooted in the totality of being, an area the size of the fear of lightning on the terrible night, the potion venial of flame, a range that includes light absorbed in a horizon that is lost in the distance. "That means," Borges once we know what poetry is. What we know so well that we can not define it in other words, as we are unable to define the taste of coffee, red or yellow, or the meaning of anger, love, hate, dawn, dusk or love for our country. " 19 The symbolic reference of that experience is associated not only with the origin of this long chain of voices that are specified in the language but also the identity of the speaker. We are at the heart of the matter: the poetic experience is inseparable from the world of social and cultural representations of each person, so that children possess the basic elements for print and speech are usually in the middle of events potentially marked by poetry. Eliseo Diego so eloquently states:
. . . For me, poetry is at an early stage illumination of some aspect of reality that moves us, or startles, at this early stage we are all poets. Then, some are able to move the lit appearance subject to subject: in our case, the language actually matter. The transition has to be done with such delicacy is not lost even one of the countless suggestions living in the real, and not one of its many possible meanings. Only in this way can reach the third and final stage in which the poem reaches its final consummation: the communication phase of the enlightened, the reader, the other without which nothing would, recreating the original experience. . .20
unintentionally (and it adds a level consistent with the artistic sense of his works), both Borges, as Cuban poet foreshadow a path to the animation of the poem in the classroom suggest a route to identify from phenomenologically three moments of poetic experience, we provide the basis for teaching in amazement. The three moments must be satisfied that the event happens, all three steps must be taken to reach the final sense. If the first event, the lighting, it moves toward writing, experience is only within those who experience it. It in itself, but is depleted if no representation. And likewise, if the text that accounts for the original shock is not read, ie not housed in purpose of communication, there is no sense and is not an object but dumb, expectant. In turn, O. Peace warns: "... overcome with astonishment, not the spell, we find that the poem suggests another type of communication, governed by laws other than the exchange of news and information" .21 This "other communication" to be incorporated into be a teacher.
The teaching of wonder is proposed as a strategy to restore consistency 22 between the educational intervention and artistic nature of the purpose of recreation. Not conceive the administration of the poetic experience in the classroom as a literature class or a meeting to promote the attainment of a specific jurisdiction, but as receiving a lamp, this is the integration of knowledge, emotions and imagination of students to look beyond the common perception, considering the diversity of its social and cultural histories, since the emphasis in order to recover and identify with them to enrich and expand with the intensity of the new, unexpected, extraordinary.
The impact of poetic experience fostered by a unique and timely educational intervention frameworks beyond the precincts and school time, subverts the conventions and cliches of everyday speech, it enriches the meaning of the learning experiences of students, open an option for change to teaching practice. Hence, the creative act, half the time for the call lights, so that the experience transcends the siege of the routine. Our students demand the presence of a poet in the classroom, whose attitude to the poem touch the doors of creative imagination and the opportunity for the creation occurs. That seems to say the testimony of one who learns the rules of the game:
I feel
NECTAR a rose
time writing sometimes as a bee
dawn'm singing in a garden on the ground
light perfume. Andrea Silva
23
supporting literature ANDRICAÍN, Sergio and Antonio Orlando Rodríguez, School and poetry. What do I do with the poem? Buenos Aires, Location Editorial, 2003.
Bachelard, Gaston. The flame of a candle. Caracas, Monte Avila Editores, 1975.
Beuchot, Mauritius. Pedagogy. Magazine specializing in education. Mexico, National Pedagogical University, Third Age, Volume 10, Number 3, Summer 1995: p. 16-23.
BORGES, José Luis. Arts poetic. Six conferences. Barcelona, \u200b\u200bEd Crítica, 2001.
Chomsky, Noam. The language and understanding. Mexico, Editorial Planeta Mexicana, 1992.
DIEGO, Eliseo. Twenty-six recent poems. Mexico, Ediciones del Tightrope, 1986.
Gadamer, Hans George. Poem and dialogue. Essays on the most significant German poets of the twentieth century. Barcelona, \u200b\u200bEd Gedisa, 1993. GARCÍA
Padrino, Jaime and Arturo Medina Padilla.Didáctica of language and literature (Dirs.). Madrid, Anaya, 1989.
GARDNER, Howard. Art education and human development. Mexico, Editorial Mexicana Polity Press, 1998.
HAUSER, Arnold. Social history of literature and art. Madrid, Editorial Guadarrama, 1974.
JEAN, Georges. The paths of childhood imagination. The stories, poems, reality. Mexico, FCE Edition, 1990.
KAUFMAN, Ana Maria and Maria Elena Rodriguez. The school and the texts. Buenos Aires, Aula XXI / Santillana, 2001.
LOMAS, Carlos and Andrés Osorio (Compilers). The communicative approach to language teaching.). Barcelona, \u200b\u200bEditorial Polity Press, 1993. NAVARRO
Duran, Rosa. How to read a poem. Barcelona, \u200b\u200bEditorial Ariel, 1998.
PAZ, Octavio. The Double Flame. Love and eroticism. Barcelona, \u200b\u200bEditorial Seix Barral, 1993.
PORTUONDO, José Antonio. The concept of poetry and other essays. Mexico, Editorial Grijalbo, 1974.
ROCHA, Gilda. The poetry and textual interpretation. Mexico, National Pedagogical University, 1996.
Sabines, Jaime. Count poems. Mexico, Editorial Joaquín Mortiz, 1977.
Juárez Sánchez, José. A fun workshop. Reading and writing activities. Monterrey, NL Ediciones Castillo, 1998.
Santana, Arturo. "The pleasure of reading: literary workshops in Basic Education" in Praxis University. Journal of the North Central Region of the National Pedagogical University. Mexico, Year 7, No. 17, mayo.agosto 1999: p. 5-8.
TORRE, and Oscar Saturnino the Barrio (Coordinators), Strategies innovative teaching. Barcelona, \u200b\u200bEdiciones octahedron, 2002.
Skylight. Cultural entertainment magazine. Guadalajara, 3/número Year 29 June 2005.
Vygotsky, LS Imagination and art in childhood. Mexico, Hispanic Publishing and Distribution, 1987. Yuren
Camarena, Maria Teresa Yurén, "Teaching practice and science of man" in Vitral Teaching. Journal of the National Pedagogical University, Unit 212, Teziutlán, Puebla. Year 1, Number 1, October 1996: p. 39-50.
1 In "The Enigma of poetry," Poetic Art. Six conferences. Barcelona, \u200b\u200bEd Crítica, 2001: p. 21
2 As conceived Hans George Gadamer, "Poem and dialogue are extreme cases in the vast field of forms of language" in Poem and dialogue. Essays on the most significant German poets of the twentieth century. Barcelona, \u200b\u200bEditorial Gedisa, 1993: p. 144.
3 Gaston Bachelard, The flame of a candle. Caracas, Monte Avila Editores, 1975: p. 11. Yurén
4 Ma Teresa Camarena, "Practicing teachers and science of man" in Vitral Teaching. Journal of the National Pedagogical University, Unit 212, Teziutlán, Puebla. Year 1, Number 1, October 1996: p. 39-50.
5 See "The teaching of literature in the last decade" by Francisco Rincon in the communicative approach to language teaching. Lomas and Andrew Carlos Osorio (Compilers). Barcelona, \u200b\u200bEditorial Polity Press, 1993: p. 223-233. The contents
6 proposed by Mauricio Beuchot: "Have a sense of the events is to print our intention, where there is an intention there is a sense, and that is what characterizes human beings, which inhabit the world makes it so peculiar , surrounded by signs, whether words or symbols, "in" Subject and intentionality in the hermeneutic philosophy, pedagogy. Magazine specializing in education. Mexico, National Pedagogical University, Third Age, Volume 10, Number 3, Summer 1995: p. 16-23.
7 “En el poema no sólo se consuma la producción de sentido duradero en la palabra que se exhala, sino que en él adquiere duración la presencia sensorial de la palabra. . . la fuerza de la poesía lírica reside en su tono. . . en el poema, de muchas palabras y sonidos resulta una unidad que se distingue precisamente por la unidad del tono”, Hans-Georg Gadamer, Op. cit. p. 145.
8 “La pregunta por la unidad de sentido queda como una última pregunta por el sentido y encuentra su respuesta en el poema”, Íbid, p. 148.
9 En Arte poética. Seis conferencias, Op. cit. p. 21.
10 En La imaginación y el arte en la infancia. México, Ediciones y Distribuciones Hispánicas, 1987: p. 17.
11 Andricaín Sergio and Antonio Orlando Rodríguez, School and poetry. What do I do with the poem? Buenos Aires, Location Editorial, 2003: p. 17. A more complete list of this assessment can be found in "Teaching Literature" by Arturo Medina Padilla, included in teaching of the language and literature and Jaime García Padrino Arturo Medina (Dirs.). Madrid, Anaya, 1989: p. 511-534. 12 Noam Chomsky
in language and understanding. Mexico, Editorial Planeta Mexicana, 1992: p. 33.
13 In art education and human development. Mexico, Paidós Editorial Mexicana, 1998: p. 15-16.
14 At The Double Flame. Barcelona, Editorial Seix Barral, 1993: p. 12.
15 In The paths of childhood imagination. The stories, poems, reality. Mexico, FCE Edition, 1990: 92.
16 See José Antonio Portuondo, the concept of poetry and other essays. Mexico, Editorial Grijalbo, 1974. In his social history of art and literature Arnold Hauser presents a detailed argument on the origin of art that demands consideration of a comprehensive genesis of the human social practice. Madrid, Editorial Guadalupe, 1970, Vol I.
17 See, for example, the proposed Kaufman and Maria Ana Maria Elena Rodriguez at the school and the texts. Buenos Aires, Aula XXI / Santillana, 2001.
18 "at bottom, is only aware of what actually happens when something is offered to the understanding of someone, and when that someone understands, HG Gadamer, Poem and dialogue, Op. p. 144. 19 Arts
poetic. Six conferences, op cit. p. 34
20 Quoted by Elio and Gonzalo Garcia Diego Garcia Barcha in Eliseo Diego, Twenty recent poems. Mexico, Ediciones del Tightrope, 1986. The bold is mine.
21 The Double Flame. Op cit. p. 12.
22 A broad characterization of the concept innovation strategy can be found at Saturnino de la Torre and Oscar Barrio (Coordinators), innovative teaching strategies. Barcelona, Octahedron Editions, 2002.
23 "Born in Guadalajara and lives there. Nine years old and attends primary "in Skylight. Cultural entertainment magazine. Guadalajara, 3/número Year 29 June 2005: p. 39.
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