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gothhabiba · 10 months

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Plug-in’s [company hired by Moroccan broadcasting company 2M to dub foreign media] team included translators who wrote scripts in Moroccan Arabic, Standard Arabic and French. Plug-in co-director Chraïbi explained that “Nous avons dû ‘créer’ un nouveau langage… une nouvelle darija, qui ne soit ni trop casablancaise, ni trop fassie, ni trop chamalie, ni trop vulgaire” (Ziraoui 2009), ‘we had to create a new language… a new Moroccan Arabic, that isn’t too Casablancan, too Fessi, too Northern or too vulgar’ (my translation). For example, curse words in the original language recording were not translated into the curse words commonly associated with the speech of inner city Casablanca residents, but instead were changed or removed altogether. This ideology that the work at Plug-in consisted of creating a neutral or an unmarked variety of Moroccan Arabic that “everybody” could listen to and understand was one I heard repeatedly from voice actors and staff at Plug-in. It was a position that aligned with the generally held ideology discussed in Chapter 1 that Moroccan Arabic was the lingua franca of Morocco. As shown earlier in the present chapter, however, the observation was made by viewers that the variety of Moroccan Arabic used in dubbing was not neutral, for various reasons, including that it was marked too strongly as Casablancan and that the lexical items chosen were ‘dirty’ and ‘rough.’ Indeed, the fact that there are no ideologically “neutral” translations, in that all translations involve the negotiation and discursive construction of social and linguistic relations of power, is one that has long been recognized by linguists and anthropologists (Jaffe 1999b). The basic assumption by Plug-in that a Moroccan Arabic translation would be understood by “all” Moroccans[] erased a significant body of viewers who were monolingual Tamazight speakers. My question to employees at Plug-in if serious consideration was ever given to creating a Tamazight translation of a foreign series was met with laughter and incredulity.

— Jennifer Lee Hall, Debating Darija: Language Ideology and the Written Representation of Moroccan Arabic in Morocco (PhD dissertation), 2015, pp. 210-11

Jaffe, Alexandra 1999b Locating Power: Corsican Translators and Their Critics. In Language Ideological Debates. J. Blommaert, ed. Language, Power and Social Process, Vol. 2. Berlin: Mouton de Gruyter.

Ziraoui, Youssef 2009 Darija. Série Je T’aime, Série Je T’adore.

#Jennifer Lee Hall #Morocco #Tamazight #Darija

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muznew · 3 months

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CHRONOS Lorenzo Fassi

- Artists: Lorenzo Fassi DATE CREATED: 2024-01-26 GENRES: Afro House, Melodic House & Techno, Indie Dance, Progressive House Tracklist : 1. La Santa, G.Zamora - Oasis(Original Mix) 2. Monblaire - No Worries(Extended Mix) 3. MAXI MERAKI - Dancing Alone(Original Mix) 4. Kryder - The Eye Of Ra(Extended Mix) 5. Bákayan - Ala Bora(REBRN Remix) 6. Tabia, Fraser Jones - Set Me Free(Original Mix) 7. Serge Proshe, Minörs - Lily Was Here(Simone Vitullo Remix) 8. Kintar, Delum, Alexander Robledo - Eternidad(Extended Mix) 9. DTale, Badbox, Leo Gira - Crazy(Extended Mix) 10. Sabo - Afro Chooz(DJ Chus Remix) 11. Weekend Heroes - Brightlight(Yamagucci Remix) 12. Demayä, Aleksandra Krstic - Shadows(Samm (BE) Remix) 13. Toshi, Leo Guardo, Dr Feel, Arcade Saiyans - Yolanda(Arcade Saiyans Remix) 14. Sascha Braemer - Sernique(Original Mix) 15. Johannes Brecht - Arp Piano(Club Version) Download FileCat Read the full article

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djmusicbest · 3 months

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CHRONOS Lorenzo Fassi

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juarezesdeporte · 3 months

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youtube

SE REPORTAN LISTOS PARA RECIBIR AL AMÉRICA

Ciudad Juárez, Chihuahua., martes 23 de enero de 2024.-Los Bravos de Juárez cerraron su preparación para enfrentar a América este miércoles por la noche, con un entrenamiento en el Complejo Bravo. Partido correspondiente a la Jornada 4 del Torneo Clausura

El último partido entre ambos equipos fue una victoria para Bravos, 1-2 en el Estadio Azteca. Club América llega con seis puntos, mientras que FC Juárez llega con una unidad.

A la práctica se dieron cita la ingeniera Alejandra de la Vega y Andrés Fassi.

Convocados por Diego Mejía:

Alfredo Talavera

Sebastián Jurado

Arturo Ortiz

Moisés Mosquera

José Abella

Denzell García

Javier Salas

Sebastián Pérez Bouquet

Michael Santos

Diéter Villalpando

Diego Chávez

Francisco Calvo

Manuel Castro

Avilés Hurtado

Andrija Vukcevic

Sebastián Saucedo

José Manríquez

Diego Campillo

Ángel Zaldívar

Jesús Venegas

Aitor García

Amaury Escoto

El juego inicia a las 8:06 pm hora Ciudad Juárez, 9:06 CDMX. Será transmitido por Fox Sports Premium, Fox Deportes y VIX en Estados Unidos.

Árbitro: Luis Enrique Santander.

(Prensa FC Juárez)

#local #Youtube

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starthetripledevil · 5 months

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Mario Legacy Challenge: Characters

List of characters featured in the Mario Legacy Challenge (Gen 1 and early Gen 2). For the events so far, see this post (each post has a link to the next one at the end). Also for the Robotnik family, see this post. Now looking below, there will be spoilers. Note that the "present" here is mid-1990.

Starting with none other than...

Mario "Jumpman" Mario (originally Robotnik)

(1944 - 1987)

Hot-Headed · Ambitious · Outgoing

Role: Founder (Generation 1)

Pauline "Lady" Mario (née Rigassi)

(1952 - present)

Romantic · Family-Oriented · Art Lover

Role: Jumpman's wife

Luigeena Arthur (née Rigassi)

(1944 - present)

Neat · Snob · Perfectionist

Role: Jumpman's best friend, Lady's sister

Tony Arthur

(1948 - present)

Glutton · Bro · Ambitious

Role: Jumpman's former neighbor and friend, Luigeena's husband

Nico Rigassi

(1920s - present)

Loves Outdoors · Bro · Active

Role: Luigeena and Lady's father

Marianne & Luigeena Arthur

(1973 - present)

Outgoing · Romantic

Role: Luigeena and Tony's children

Regan Espinoza

(c. 1905 - 1985)

Child of the Islands · Slob · Dance Machine

Role: Jumpman's friend

Lana Yee

(c. 1930 - present)

Ambitious · Bro · Loner

Role: Jumpan's friend

Mariam Yee

(1967 - present)

Active · Creative · Animal Enthusiast

Erin Yee

(1972 - present)

Lactose Intolerant · Slob

Role: Lana's children

Kaori Parata (née Kato)

(1930 - present)

Child of the Islands · Outgoing · Loyal

Role: Jumpman's former neighbor and friend

Rangi Parata

(1931 - present)

Childish · Ambitious · Lactose Intolerant

Role: Kaori's husband

Caitlin Kato

(1960 - present)

Child of the Islands · Outgoing · Clumsy

Role: Jumpman's former neighbor, Kaori's daughter

Rhonda Parata

(1970 - present)

Vegetarian · Bookworm · Materialistic

Role: Kaori and Rangi's daughter

Emmalyn Winters

(1951 - present)

Insider · Snob · Dance Machine

Role: Mario family's neighbor and friend

Elle Craig

(1948 - present)

Creative · Genius · Gloomy

Role: Lady's best friend

Harrison Gibbs

(1940s/1950s - present)

Erratic · Music Lover · Art Lover

Role: Jumpman's former neighbor and boss

Keegan Barron

(late 1950s - present)

Child of the Islands · Genius · Vegetarian

Role: Jumpman's former neighbor

Meredith Robotnik (née Sanders)

(1913 - present)

Music Lover · Snob · Foodie

Geraldo Robotnik

(1915 - present)

Creative · Loves Outdoors · Art Lover

Role: Jumpman's parents

Julian Robotnik

(1928 - present)

Evil · Ambitious · Self-Assured

Role: Geraldo's brother (Jumpman's uncle), Jumpman's enemy

Bertha Robotnik

(1926 - 1970)

Family-Oriented · Snob · Foodie

Role: Julian's wife (Jumpman's aunt by marriage)

Colin Robotnik

(1954 - present)

Mean · Active · Neat

Ivo "Eggman" Robotnik

(1948 - present)

Evil · Genius · Mean

Role: Julian and Bertha's children (Jumpman's cousins)

Jennifer Robotnik

(1889 - 1983)

Evil · Mean · Hot-Headed

Role: Julian and Geraldo's mother (Jumpman's grandmother)

Miriam Robotnik (née Day)

(c. 1954 - 1976)

Loyal · Family-Oriented · Clumsy

Role: Colin's wife

Julian Colin "Snively" Robotnik

(1976 - present)

Evil · Genius

Role: Colin and Miriam's son

Mario Mario

(1980 - present)

Loves Outdoors

Role: Heir (Generation 2), Jumpman and Lady's son

Pauline Mario

(1975 - present)

Cheerful · Music Lover

Luigi Mario

(1980 - present)

Good

Role: Jumpman and Lady's children, Mario's siblings

Donkey Kong Junior

(c. 1980 - present)

Active · Loyal · Sleuth

Donkey Kong Senior (Cranky Kong)

(c. 1965 - present)

Aggressive · Stubborn · Adventurous

Role: Jumpman's enemies (Cranky Kong was kept as a circus animal, Junior freed him)

Kayla Al Fassi

(1975 - present)

Loves Outdoors · Self-Assured

Role: Pauline's best friend

#mariolegacychallenge #sims 4 #the sims 4 #sims4 #thesims4 #ts4 #sims 4 characters #jumpman mario #robotnik #mario family #super mario #ts4 screenshots #ts4 simblr #ts4 sims #ts4 characters

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steffensenholt95 · 7 months

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住宅園區物業的水處理

https://www.youtube.com/watch?v=iSbOsoLW1GA https://www.youtube.com/watch?v=fnFV29CLNDo 王室成員經常在附近的塔帕達國家馬夫拉宮（宮殿內廣闊的狩獵場）擔任射手。獎杯室（Sala da Caça）旨在展示此類場合的囚犯，並展示了近百隻騎在馬上的雄鹿和幾頭野豬的怪誕收藏品。但真正令人震撼的是家具，包括用鹿角製成、披著鹿皮的枝形吊燈。第三種選擇是廚房水過濾，這為進一步處理飲用水提供了機會。經過中央過濾器後，可以通過端點過濾從廚房用水中去除影響味道和氣味的物質。在所選濾水器濾芯的幫助下，將礦物質添加到過濾水中，例如礦物質。因此，過濾後的 BWT 水適合我們在自己廚房中的生活方式，由當地水生產，無需塑料瓶和運輸。最初的格拉芬斯坦城堡建於 13 世紀。對於每棟房屋，我們收集了新聞、房地產網站、建築網站上發布的測量值或根據谷歌地圖測量值進行估算。我們從最終數據集中刪除了所有未發布數據或不清楚測量內容或僅提及建築物大小的房屋。我們進行了書面研究，了解截至 2023 年 1 月 one hundred ninety 個國家的國家元首和美國各州州長的居住地點。在某些情況下，國家元首及其家人可能擁有多個官邸，因此我們選擇了國家元首全職居住或一年中居住時間最長的房產。然而，總統被他自己的兩個州的州長取代。基礎設施發達，但距離最近的酒店有一公里。對於介入現有建築環境的建築師來說，最大的任務之一就是對場地進行初步分析。由於通常不可能親自訪問該地方，因此要求從業者根據互聯網資源、圖書館和書籍收集信息。在這方面，構建參考歷史和獨特地標的城市點雲將是邁向信息測繪下一個前沿領域的第一步。馬夫拉位於格拉迪爾路以北六公里處，這裡曾經是一片廣闊的狩獵場，國王若昂五世和他的繼任者曾在這裡獵殺野豬和野豬。這是一個適合鄉村旅遊和戶外探險的絕佳公園。騎馬和射箭等許多活動以及兒童沙龍和馬車之旅都可以提前預訂。 EHT 是為歐洲遺產專業人士提供的免費數字通訊。它旨在通過分享知識、連接人們和文化創意部門來建立一個持久的歐洲網絡。就動態激光掃描儀而言，測量階段要考慮的另一個方面是測量員的行走速度，因為它會影響正在構建的點雲的分辨率和密度。因此，最好以低步行速度重複收集信息幾次，以便更容易讀取所有撞擊表面的反射。特別是，Francesco Fassi 教授進行的調查活動旨在獲得 3D 調查，以開發後期所需的 2D 度量數據，以定義該項目的最終保護項目。廢水每隔多久產生一次，具體產生量是多少？一個大問題是，為什麼在過去的幾周里沒有人想到用熱水給島上的職業學校供暖的可能性，以及為什麼在數百名家長已經不滿意之後才在某些人的腦海中亮起燈泡。據稱，此後，他們在青民盟議會代表西蒙·羅伯特·巴拉茲的參與下，根據公眾溝通，計算併計劃了數週——如何解決這個問題。該網站使用 Akismet 來減少垃圾郵件。主題公園的明星本身就是最高級的“迅猛龍”過山車，它是阿拉伯聯合酋長國最高、最快的過山車。參與者感覺自己就像在一輛高速汽車中，因為僅需三秒即可達到百公里。整個建築群的面積為 620 x 340 m，即約。軟化水雖然可以根據適當的設置飲用，對健康沒有任何不良影響，但味道不太濃郁。相互競爭的緊張局勢在世界領導人的住房選擇中發揮著重要作用。具有某些信仰的王室和政治家更喜歡表現出傳統、財富和權力的外表，而其他人則試圖讓公民放心，他們是謙虛的，了解日常生活的壓力。喬·拜登最近在觀眾面前回憶道，強調年輕時他“住在一棟三居室、不可分割的房子裡，有四個孩子和一個祖父。那時我們開發了郊區，他們建造了 60 棟類似的房屋”。例如，如 III.查爾斯國王還選擇了他“非常人性化”的新郵票上樸素無冕的肖像克拉倫斯宮作為他的住所，而不是白金漢宮。這非常常見，因為它為整個供水網絡提供保護。 Booking.com 隸屬於全球領先的旅行服務集團 Booking Holdings Inc.。對於那些想要熱鬧喧鬧的夜生活的人來說，Kstarcsa 不是一個聚會場所，但那些想要在舒適平靜的環境中恢復活力的人應該隨時參觀我們的村莊。丹德拉 (Dendera) 寺廟群距離基納 (Qena) 7 公里，車程約 10 分鐘。歐洲最新、東歐最大的猶太教堂之一於週五在 Máramarossziget 落成。據 Digi24 報導，紐約、巴黎、倫敦和法蘭克福的拉比參加了此次活動。沙賈汗與蒙塔茲結婚所生的兒子在沙阿去世九年前就開始爭奪王位繼承權。他們注意到父親病了，每個人都想為自己奪取王位。兩個男孩中的一個取得了勝利，而這個男孩沒有沙賈汗在身邊。 1666 年沙賈汗去世後，陵墓被放置在陵墓內，打破了建築群的完美對稱性。儘管尚未證實這是否是建造者的初衷，但一些更具詩意的解釋表明，燈光的變化並非沒有目的，反映了已故國王在妻子去世後的感受。

1910年葡萄牙君主制結束後，這些公寓被拆除，廣闊的空地，到處裝飾著宗教繪畫，只能呼應過去的輝煌。平行桌子上有一張法式帝國風格的大紅木貢多拉床，是這個視覺上安靜的房間的中心元素。小銀器是 19 世紀的葡萄牙風格，包括一個碗和香盤。除此之外，幾乎沒有跡象表明它曾經是統治者的寢宮。修道院的自助游從供奉摩洛哥聖烈士的房間開始，摩洛哥聖烈士是 1219 年法國人的派系之一，由阿西西的聖方濟各從意大利派來傳播基督教。國家元首作為他們領導的國家的王子，發揮著象徵性的作用。他們的家應該配得上一位國王、總統或最高領袖，而且這個住所體現了他們國家的身份、價值觀和抱負，符合國家利益。如今，阿波美宮殿用於舉行貝寧的傳統儀式。在儀式期間，有節奏的音樂、貝寧豐富的文化、儀式、宗教和習俗在建築群中上演。由於宮殿的持續功能，這些儀式對建築群的保護做出了重大貢獻。為了增加電池容量，Vieux Emosson大壩的高度也增加了20米。該設施在高峰運行時能夠同時為 900,000 個家庭供電。雖然地窖很大，在夜間照明時給人一種令人驚嘆和不朽的印象，但它一點也不違背山谷的和諧，也沒有從景觀中脫穎而出。整個建築群深入黃土山中，其外部高度與舊地窖的高度相近。酒窖系統本身是國內酒窖最重要的建造者費倫茨·海曼 (Ferenc Heimann) 的一項具有里程碑意義的創造。

#bogin

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rausule · 9 months

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Doen afr. Don my gee lt. Lt. Impa, ek sal leer

. Van die Latynse facĕre, fuomo faerĕ fanna, famma waaruit reeds in die afd. VI lei die gekontrakteerde vorm doen af na analogie van gee. Baie gebruik in D., dit dek byna al die semantiese gebied wat die woord in die moderne taal oorheers. In D., en in antieke Italiaans in die algemeen, is die perifrastiese gebruike van f egter baie meer gereeld, nie net deur grammatikale redes gemotiveer nie, maar ook deur 'n "neiging van die mentaliteit van daardie tydperk om idees eerder as aksies uit te lig" (Corti). Die teenwoordigheid van F. in D. se werk beloop hulle 2061: Ryp 130; twyfelagtige rympies 38; Nuwe lewe 138; Convivium 396; Hel 332; Vagevuur 319; Paradys 348; Blom 330; Gesê 30. Wat die vorme betref, speel D. op die afwisseling van argaïese of literêre tradisievorme met ander, natuurlik vir die Florentyne van sy tyd. Faccio (facciovi) seëvier bo fo, analoog van 'do', 'sto', wat nooit in die Komedie verskyn nie, terwyl dit algemeen voorkom in die Fiore. Foe is slegs in Vn XXIII 31 en XXXI 5. Fai (fa') is die mees gebruikte vorm; faci, van liries-Siciliaanse invloed, is slegs in If X 16 en XIV 135, en in rym. Fa (fassene, fassi) is die vorm wat tans gebruik word; gesig, "Sicilianisme meer as Latinisme" (Contini), is skaars, en meestal in rym. Die epitetiese vorms fae (Vn XXI 6, XXVIII 2, Cv II V 15), fane (Rime CXVI 34) is geïsoleer. Kom ons doen dit is slegs in Cv IV XXII 3, terwyl D. elders tare, farem, skaars gebruik. Die lot is die enigste vorm van die II meervoud, en slegs een facen (Pd IX 78), teruggestuur deur Petrocchi, is teen die voortdurende gebruik van kos (fannomi), fan (fansi).

Facea, wat slegs in die Komedie voorkom, en facei (Pd XIX 69) is die enigste vorme van die I en II enkelsnit. van die onvolmaakte; facea (faceasi), en facia, in Siciliaanse rym (Vn XXXIV 8 4), seëvier bo fa, skaars in die Komedie, en elders slegs in Fiore XXVIII 4. Faceano, facean kom meer gereeld voor as fatti, fain, altyd in die Komedie. Die vorms, van Siciliaanse oorsprong, is skaars, facien, slegs in die Komedie, facien (Rime Dubite VII 13, Fiore CCXIV 5), en faciensi (Pd XVIII 77).

Feci (fec'io, fecimi) kom meer gereeld voor as fei (fe', fe'mi, femmi), wat slegs van die Komedie is, en bowenal in rym voorkom. Facesti is die enigste vorm wat aan Dante bekend is. Gesig heers duidelik bo fé in die Convivio en in die Fiore, en het 'n minder konsekwente meerderheid in die Rime en in die Vita Nuova; ontlasting (feceli, fecemi, fecesi) wissel met gelyke frekwensie af met fé (felli, femmi, fessi: 92: 89). Fée is slegs in Bl XXXII 12; féo, "bekend nie net deur lirieke digters nie, maar ook deur prosa" (Parodi), is slegs in die Komedie op rym. Féne slegs in If XVIII 87. Femmo, gebruik in If XVII 32, word afgewissel met did (If XXVI 125, XXXI 82). Faceste is slegs in Vn XXXVII 6 1. Die ouer vorme fatto en fecer word in al D. se werke verkies behalwe in die Commedia, waarin die gekontrakteerde vorme fero, fer (ferci, fersi) bo fatto, fecer (gemaak) seëvier. Fenno, met 'n Pisan-Lucca-einde, maar stewig verwerf in die literêre taal, asook in Rime CIV 55 en Cv II XI 2, verskyn tien keer in die Commedia, en slegs in twee gevalle buite rym (If XVI 21, Pg III 93). Fensi is slegs in rym (Bl X 63, Pd VII 148).

Ek sal doen (faròl, farotti), farai, fa, faremo, farem, farete, fare, faran is die enigste vorme van die toekoms wat deur D. gebruik word; die epentetiese vorm faroe is slegs in Fiore CCXXX 2. Farei (fare', farëi) word slegs in kleiner werke gebruik; faresti kom voor in Pd XXI 5, Fiore XIV 3. Farebbe wissel af met faria, wat van die liries-Siciliaanse tradisie is: die twee vorme is ekwivalent in die Convivio en in die Fiore, in die Rime kom slegs faria voor. In die Commedia het ons farebbe in Pg XXIV 9, Pd VIII 134, en faria in Pd VII 18. Farebbe is slegs in die Convivio en in die Vita Nuova; in die poësie het ons farieno (Bl XII 66) en farian (Fiore CLXIX 5).

Die einde in -e van die II enkelvoud. van die konj. pres. dit word slegs in Fiore (LIII 7, LXVII 2) aangetref, maar in die Commedia (en ook in Fiore CXXVII 6) word dit slegs facci aangetref. Doen ons vir die III enkelsnit. dit word slegs in Rime LXXXVIII 6 aangetref, terwyl dit elders altyd gesig is. In die meervoud is hulle opgeteken fare, farem, fasades (slegs in Rime LVI 24), fareno, faren (gesig daarvoor). Solo in Fiore LXXXV 7 facer.

Fessi (ek sing. vir " facessi ") is slegs in If XXXIII 59; facessi (II pers.) in Fiore CXLV 9. By die III enkelsnit. van die onvolmaakte konjunktief word dit algemeen gebruik facesse (fesse is slegs in die Commedia). Van die meervoudsvorme word facesser geïsoleerd aangetref (Pd II 67).

Fa' word opgeteken in die imperatief, dikwels met die toevoeging van 'n enklitiese voornaamwoord (falla, fallle, fagli, fagliele, fammi, fammiti, fatti, en slegs in Rime LXVIII 49 falmi), lot (fatene, Bl V 30; faitevi, Cv IV XI 12).

Die gerund kom byna altyd met 'n dubbele Toskaans voor: doen, self maak; volledig slaag. die vorme fatto, -a, -i, -e, en met apocope fatt'io, fatt'eran moet aangeteken word. Die infinitief fare, far, het 'n lang reeks enklitiese formasies: fare, farli, farle, farmi, farmisi, farti, farvi, far, farne.

In D. se werk kan die volgende betekenisse van die werkwoord onderskei word:

1. " Vervul, voer uit, bring tot 'n einde iets ": Cv I IV 5 alles wat hulle soos kinders doen; Pd XXII 9 en weet julle nie dat die hemel geheel en al heilig is nie, / en wat daar gedoen word, kom uit goeie ywer?; Fiore CCXXV 3 wil egter regtig vir elkeen wys wat sy weet hoe om te doen. Sien ook: Vn XXVIII 2, XXXIV 4, Rime Dubite XVII 5; Cv I V 11 (twee keer), VI 3, VII 6 en 9, II Voi che 'ntendendo 52, X 2 (as 'n aanvulling op die kritiese uitgawe van 'n leemte in die teks) en 5, III VIII 7 en 11, IX 3, IV IV 2, XI 14 (twee keer en XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, XXII, 7 en 11) XXVII 15, XXVIII 1 en 2; Indien XIII 85, XXVIII 107, Bl III 82 (twee keer), V 77, XIV 78, XIV 53, XIX 115, XX 82 en 85, Pd IV 102, XVII 50; Blom XLIX 14, LXXII 2, CXCIX 9; Gesê 425. Sinspeel op seksuele aksie in Fiore LXIV 14

Dit word dikwels gekontrasteer, selfs onoorganklik, met ander werkwoorde: 'n ‛ sê': Bl V 61 sê jy, en ek sal vir daardie vrede doen, ensovoorts Rime XCI 35, Vn XXIII 30, Bl XI 32, XVII 30, Pd XII 44; a ‛ vra': As XXIV 77 " Nog 'n antwoord", het hy gesê: "Ek sal jou nie teruggee / as ek dit nie doen nie...", en Pd XVII 74; a ‛ moenie': Cv III IV 6 slegs in die dinge wat in sy vermoë is om te doen of nie te doen nie; a 'ly': Bl XXV 47 een wat gewillig is om te ly en die ander om te doen; a ‛ dink ': Cv IV IX 5 bewerkings is dat sy [rede] in materie buite haarself oorweeg en doen, en so drie ander gevalle in dieselfde gedeelte uit die Convivio; aan bewind: Cv III I 9 as meer kon, meer sou ek doen.

In die besonder "om te vorm, om 'n ding in sy wese te konstitueer": Cv II V 6 en hierdie drie ordes maak die eerste hiërargie uit; Pd V 41 en stop daar binne; ché non fa scienza, / sonder om dit aan te hou, verstaan. Dus Cv II V 6 (twee keer benewens die reeds aangehaalde gedeelte), III XI 5, IV VI 3, XXIX 10 (twee keer). Ook in 'n fisiese sin, van riviere gepraat: As XIV 116 Acheron, Styx en Phlegetonta maak; XIV 119, XXX 66, Pd I 81; of astronomiese verskynsels: Pd II 67 As dit selde en gereeld voorkom, het dit soveel gedoen, en 60.

2. Dui handeling in die algemeen aan, en synde die werkwoord by uitstek kan dit enige werkwoordvorm vervang wat voorafgaan of, meer selde (slegs in D. As V 96, VII 22, Bl XXIII 2 e 16, XXVI 13) volg (‛ f. vicario '). Hierdie funksie kom gereeld voor, veral in die poësie, in modale proposisies, om lastige herhalings te vermy: As V 29 Io venni in loco d'ogne luce muto / che mughia come fa mar per tempest; Bl VIII 81 Die adder wat Melanesi opslaan, sal nie so 'n mooi begrafnis maak / as wat die haan van Gallura sou gedoen het nie. Sien dus Rime CI 33, CXIV 9; Vn XXIII 10, XXXVII 2; Cv I X 10, II IX 7, XII 4, III IX 14, XII 3, IV I 3, XXVI 14, XXVIII 5; Indien XII 25, XIV 58, XVI 22, XVII 49, XXI 135, XXII 105, XXV 141, XXX 56, XXXIII 130, XXXIV 31, Bl IV 131, IX 42, XI 12, XII 82, XXII, XXII, XXV, XXV, XXV, XXV, XXV , XXIII 2, XXIV 9 en 135, XX VI 70, XXVII 45, XXXIII 120, Pd II 17, III 94, IX 96, XI 51, XIII 14, XV 3, XVIII 38, XXVIII 11, XXX 85; Blom LI 10, C 5, CCXXXI 3.

Wanneer die f. ‛ predikant ' het 'n komplement, dit word gewoonlik gevind "in daardie geval sal dit gepas wees vir die vervangde werkwoord" (Vidossich). In D. word die komplement dikwels in 'n direkte geval aangetref: As XXV 132 li orecchie reti per la testa / come face le corna la lumaccia; Vn XXXI 10 19, If XI 104, XVIII 13, XXXII 132, Bl XXX 5, Pd XXII 56, XXIII 30, Fiore LXXII 14. Die komplement kan egter ook in skuinsgevalle voorkom: Pd IX 96 di me s'iofee, C luiii, C luiii, C, Luii,,,,,,,,,,,,, fe, che ne la mente 38 (weergegee in XIV 3), As XV 21, XXIII 8, XXXIV 31, Bl XI 12, XIII 72, XVII 58, Pd XI 51, XV 3, XVIII 38, Fiore LI 10. Ten slotte, soms word die verhouding met 'n preposisie slegs of soms 'n persoon met 'n ‛ uitgedruk. ': Bl XXIV 35 Ma come fa chi guarda e poi s'apprezza / più d' iets anders wat ek aan dié van Lucca gedoen het; Pd XVI 84 En soos die draai van die lug van die maan / rusies sonder pouse bedek en ontbloot, / so doen Fortuna van Florence. Sien dus If IX 116, Bl XIV 27, XX 81. F. ‛ vicar ' kan ook in 'n selfstandige bepaling gevind word, maar deur 'n modale bywoord gekoppel aan die een waarin die gesubstitueerde werkwoord gelees word: Vn XX 5 e tanto dura talora in costui, / che fawakar lo Spirito d'Amore. / E soortgelyke gesig in vrou omo valent; As XII 82 Is jy bewus / dat die een agter dit wat hy raak beweeg? / So maak hulle gewoonlik nie die voete van die dooies nie. Sien ook Rime LXXX 19, Vn XX 8, Cv IV XXVIII 5, Pg XXVI 124, Pd IV 80, XVI 112, Fiore XXVIII 4, CLXX 12, CCII 10, CCXIX 2.

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kimludcom · 10 months

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Brenda Fassie ressuscitou - Video completo na APP Unitel Estrelas ao Palco - Gala 1

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berradatravel · 11 months

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Exploring the Enchanting Charms of Fes with a Holiday Company in Morocco

Intro:

Morocco, a land of lively shades, abundant history, as well as exciting landscapes, has actually long been a preferred location for avid travelers looking for an immersive social experience. Within this enchanting nation exists Fes, a city that easily mixes old customs with modern-day impacts. To guarantee a smooth journey filled with genuine encounters as well as remarkable minutes, travelers frequently depend on the proficiency of a reliable travel bureau. In this blog site, we'll explore the wonders of Fes and also explore the benefits of partnering with a holiday company to boost your Moroccan journey

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2. Customized Knowledge:

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3. Specialist Advice and Regional Insights:

Browsing a foreign land can in some cases be overwhelming, however with a travel agency in Fes, you'll have experienced support every action of the way. These firms collaborate with well-informed local guides that have a deep understanding of the city's background, culture, as well as hidden treasures. They can supply useful insights right into the very best times to go to destinations, suggest genuine neighborhood eateries, and deal ideas for connecting with the residents.

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5. Beyond Fes:

Exploring the Bordering Areas: While Fes itself is a bonanza of attractions, the region surrounding the city uses similarly enchanting experiences. From day trips to the captivating Roman ruins of Volubilis to checking out the scenic landscapes of the Center Atlas Mountains or enjoying a relaxing see to the standard hammams in MoulayYacoub, a holiday company in Fes can assist you intend expeditions that showcase the varied appeal of the area.

Final thought: Fes, Morocco's cultural gem, supplies an exciting mix of ancient practices and modern marvels. Partnering with a holiday company in Fes permits you to embark on an immersive trip where every information is dealt with, making sure a smooth and also enhancing experience. From exploring the labyrinthine streets of the medina to uncovering the area's covert treasures, Travel Agency Morocco provides expert advice, local insights, as well as problem-free setups, enabling you to savor the magic of Fes effortlessly. So, accept the glamour of Fes and also allow a trusted travel agency pave the way for an extraordinary Moroccan journey.

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