Updates, Live

Tuesday, May 26, 2015

Para Lo Cual y Para El Cual

descubrimiento del mundo
no existe infracción de derechos de autor previsto

Queremos hacer un pastel de lo chocolate, para lo cual necesitaremos chocolate, harina y huevos (https://es.answers.yahoo.com/question/index?qid=20110817025827AANPahj).

Juan es un hombre para el cual no existe el peligro (https://es.answers.yahoo.com/question/index?qid=20110817025827AANPahj).

Ya conocemos los trucos con que los politicos hacen su propaganda para lo qual no merece la pena de matar el tiempo con ellos (José Cosgaya, 30 Stunden Spanisch für Anfänger).

La amiga de mi hermano para la cual he comprado un reloj viene mañana (http://www.123teachme.com/translated_sentences/sp/cual).

¿Cuando se utiliza "para lo cual" y cuando "para el cual"?

Bien, aquí van:

(La Española - or Hispaniola)

Por y Para (Aprender Español a Través Inglés)

¡Seremos amigas por siempre y para siempre!
(Imagenes con Frases para amigas inseparables)
no existe infracción de derechos de autor previsto

"Por" y "para" tienen una variedad de significados, y que a menudo se confunden, porque cada uno puede traducirse en Inglés como "for".

Por ejemplo:

Gracias por la información.
Thanks for the information.


Este regalo es para Juan.
This gift is for Juan.

Para aprender a usar "por" y "para" correctamente, tiene que hacer dos cosas:

  • Aprende las reglas de cómo se utilizan por y para
  • Memorice frases modelo

Bien, aquí van:

(La Española - or Hispaniola)

Friday, May 22, 2015

The Strugatsky Brothers: Hard to Be a God

Many times a sci-fi story suggests features and trends of the epoch contemporary with the authors, and it does it with much more clarity than books of any other genre. Hard to Be a God (Трудно быть богом) apparently speaks about a planet far away and from a very distant future, while actually it is a coded description of things that happen hic et nunc. And it remains in 2015 as actual as it was in 1964, when it was published.

A group of scientists is sent from Earth to an alien planet inhabited by humans living still in medieval times. The task of the envoys is to observe the way aliens evolve (and to report), to try to assist them (in evolving this way and not that way) ... you got the picture. The course of events force the envoys to intervene brutally sometimes, though theoretically this is to be avoided. As it always happen, any intervention produces the worse. What should God do in turn? Maybe the Supreme Being would respect their liberty and let them on their own. Only it is very hard to be God and behave godly, firstly because you are not God (though sometimes you think you are), and despite the huge civilizational difference, Earth humans and alien humans share the same instincts, the same misunderstanding of the otherness, and the same appetite to be in total control (plus, perversely, the same appetite for living in a tightly controlled world).

Two movies have been made based on the novel. The first one, made in 1989, was an international project. The Strugatskys did not agree with the way the director (Peter Fleischmann) was conceiving the movie and stopped any collaboration with him. A second movie was made in 2013, an entirely Russian production this time, directed by Aleksey German. The 1989 movie unfolds on a planet of desert landscapes and caverns. Is it an alien world still in the dawn of history, or is it rather about us, as our atomic present cannot have another outcome? In the 2013 film the landscape is more familiar, as both us and the aliens probably live on the same planet: the elephant is in the room.

(Arkady and Boris Strugatsky)

(Russian and Soviet Cinema)

(German and Nordic Cinema)


Thursday, May 21, 2015

Yasujirō Shimazu: Our Neighbor, Miss Yae (1934)

Our Neighbor, Miss Yae (1934)
movie poster
no copyright infringement intended

... a portrayal of everyday people in which a girl falls in love with the boy next door ... an unexpected complication arises when her married sister returns home and also sets her eyes on the neighbor; bittersweet, charming and rather lovely ... (Trolley Freak)

... a great example of "the poetry of everyday life" and a presentation of the moments in life that seem to be mundane, but affect us heavily ... (InsertOzuReferencehere)

... poetic, beautiful, ethereal like an countryside aquarelle ... (namnhan2003)

... nostalgic, beautiful, cute ... (筐桜)

It seemed at the beginning a bit boring, or a bit dry, but after five minutes I started to enjoy it enormously, to be totally interested and totally amused by what was going there. A movie made in 1934, taking place in a suburb of Tokyo, and I felt connected to them, to the youngsters and to their parents, falling in love together with them, smoking and drinking together with the young ones, just to make impression, like them, and getting after that a headache, like them again, doing smalltalk and getting drunk with sake, together with the grown ups, observing each bit of distance between them and us, in time and in space, accepting these distances and going on with my enjoyment among them, immersed in their mundane world of small miracles. Making fun of them while betting on what'll follow in the next scene, keeping fingers crossed. It's the Japan of the thirties, with all its problems (German influence, Korea, and so on - all this comes casually now and then in the movie - together with their passion for baseball), all this, while youngsters are the same everywhere and in any epoch, grown ups the same. Any distance, any difference between then and now, between here and there, between us and them, all this doesn't matter any more, because their universe is surreal and ethereal, and it's for all seasons. It's a flurry of fresh air this movie. Why the end is inconclusive? Or better said, why this movie doesn't have a proper end, an outcome so to speak? I think it's better this way, because we know that life will solve anyway all their problems of love and jealousy, we have just met them in the movie, these young guys, and will keep in touch.

And speaking now strictly about the cinematic qualities? At least this one: what a great framing for each image!If not for other obvious qualities (lively plot, and so on), I would love to watch this movie anytime I need to rest my soul and my taste with perfect image framing. It cannot be more, it's the absolute. I have to watch one more movie by Shimazu, as soon as it gets.

(Yasujirō Shimazu)


Yasujirō Shimazu

Yasujirō Shimazu
島津 保次郎
1897 - 1945
no copyright infringement intended

one of the creators of the Japanese shōshimingeki genre - tales of the urban lower middle class, mixing tears and laughter (Routledge Handbook of Japanese Culture and Society); directed more than 80 movies between 1921 and 1944; came into his own especially in the sound era; died prematurely of lung cancer just after the end of WWII.
(info source: wiki, Routledge, Imperial)

(Japanese Cinema)


Edward Hopper

Edward Hopper (1882-1967)
self-portrait from 1906
(source: http://www.museumsyndicate.com/item.php?item=9438)
no copyright infringement intended

(The Moderns)


Wednesday, May 20, 2015

Austen, Chekhov, Ozu, Hopper, Chardin

Chardin, The Silver Beaker
oil on canvas, c. 1750
Musée du Louvre
(source: wikiart)
no copyright infringement intended

An English novelist from the Regency times, a Russian playwright and short-stories author living at the end of the 19th century, a Japanese director of the 1930s/40s/50s, and an American painter contemporary with the Japanese. Do they have something in common? Is it for them a proximate genus? Then what are their specific differences? The universe they are dealing with in their works is up to a point similar: a thin section sliced with peculiar attention in the medium to lower level of gentility or bourgeoisie/intelligentsia, mixed with all kind of picturesque guys, like perpetual students aspiring sometimes to the status of small clerics or clergymen (it depends on the epoch), plus one or more wise and rather skeptical doctors or professors, or other enigmatic individuals (sometimes on the brink of failure). And this universe is explored with great empathy and nobility, and with tireless dedication. Their approach is not demiurgical, like at so many other creators; they let their personages to play by themselves, the situations to evolve freely; and they, the creators, are just there, on the side, enjoying the uniqueness of some moments, all other times just admiring the holiness of the mundane, and meditating maybe, at the ways life goes on.

And maybe the French rococo painter is not too far (if not for the universe, at least for the approach).

(Jane Austen)


(Yasujiro Ozu and Setsuko Hara)



Labels: , , , ,

Tuesday, May 19, 2015

Shannon Hale

Shannon Hale
(The Interrupters)
no copyright infringement intended

Before writing professionally, she wrote while pursuing acting in television, stage, and improvisational comedy, as well as studying in Mexico and UK. She spent a year and a half as an unpaid missionary in Paraguay, then returned to US to earn her bachelor's degree in English from the University of Utah and a master's in creative writing from the University of Montana (wiki). And she has a fabulous blog (squeetus). I'm writing a first draft and reminding myself that I'm simply shoveling sand into a box so that later I can build castles (Shannon Hale).

(A Life in Books)


Sunday, May 17, 2015

Jane Austen

lost in Austenland
no copyright infringement intended

Indeed, what modern painter could do justice to a portrait of Jane Austen? What did Jane Austen really look like?

Would I recognize Miss Austen if we were to meet in a crowd today? I would like to think so.

(A Life in Books)


Wednesday, May 13, 2015

Arkady and Boris Strugatsky

Arkady (1925–1991) and Boris (1933–2012) Strugatsky were the most acclaimed and beloved science fiction writers of the Soviet era. The brothers were born and raised in Leningrad, the sons of a critic and a teacher. When the city was besieged by the Germans during World War II, Arkady and their father, Natan, were evacuated to the countryside. Boris remained in Leningrad with their mother throughout the war. Arkady was drafted into the Soviet army and studied at the Military Institute of Foreign Languages, graduating in 1949 as an interpreter from English and Japanese. He served as an interpreter in the Far East before returning to Moscow in 1955. Boris studied astronomy at Leningrad State University, and worked as an astronomer and computer engineer. In the mid-1950s, the brothers began to write fiction, and soon published their first jointly written novel, From Beyond (Извне). They would go on to write twenty-five novels together, including Roadside Picnic (Пикник на обочине), which was the basis for Andrei Tarkovsky’s film Stalker; Snail on the Slope (Улитка на склоне);Hard to Be a God (Трудно быть богом); Monday Begins on Saturday (Понедельник начинается в субботу); and Definitely Maybe (За миллиард лет до конца света), as well as numerous short stories, essays, plays, and film scripts. Their books have been translated into multiple languages and published in twenty-seven countries. After Arkady’s death in 1991, Boris continued writing, publishing two books under the name S. Vititsky. Boris died on November 19, 2012, at the age of seventy-nine. The asteroid 3054 Strugatskia, discovered in 1977, is named after the brothers.

(Жизнь в Kнигах)