978 resultados para Contemporary French movie


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Acrylamide is formed from reducing sugars and asparagine during the preparation of French fries. The commercial preparation of French fries is a multistage process involving the preparation of frozen, par-fried potato strips for distribution to catering outlets, where they are finish-fried. The initial blanching, treatment in glucose solution, and par-frying steps are crucial because they determine the levels of precursors present at the beginning of the finish-frying process. To minimize the quantities of acrylamide in cooked fries, it is important to understand the impact of each stage on the formation of acrylamide. Acrylamide, amino acids, sugars, moisture, fat, and color were monitored at time intervals during the frying of potato strips that had been dipped in various concentrations of glucose and fructose during a typical pretreatment. A mathematical model based on the fundamental chemical reaction pathways of the finish-frying was developed, incorporating moisture and temperature gradients in the fries. This showed the contribution of both glucose and fructose to the generation of acrylamide and accurately predicted the acrylamide content of the final fries.

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In 'Tales from Ovid' and 'War Music' respectively, Ted Hughes and Christopher Logue turned to classical epic as source material and a model for contemporary poetry. In this essay I consider the different ways in which they work with the original epic poems and how they rework them both textually and generically. In the process, I suggest, Hughes gives his readers an Ovid modeled on his own, vatic conception of Homer, while Logue reworks Homer in a manner that is essentially Ovidian.

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This special issue of JFLS focuses on what learners know about French words, on how they use that knowledge and on how it can be investigated and assessed. In many ways, it is a sequel to the special issue on the Acquisition of French as a Second Language edited by Myles and Towell that appeared in JFLS in 2004. While articles on the L2 acquisition of the French lexicon have appeared in a variety of journals, including JFLS, this special issue (SI) is the first volume which specifically focuses on lexical knowledge and use among learners of French as a second language. The issue is timely, because of the growing importance of vocabulary in the SLA research agenda, but also because research into vocabulary acquisition appears at the top of a list of areas in which teachers of Modern Foreign Languages are most interested.

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This paper provides evidence for the claim made in Baetens Beardsmore (1971) that the grammatical collocation "chercher après" «to look for», which is very frequent in Brussels French, is the result of transfer from the contact language, Brussels Dutch. A detailed quantitative analysis of this construction in different varieties of French which have more or less contact with a Germanic language was made to investigate the likelihood of influence from the Germanic substrate. The differences between the meaning of "chercher" and "chercher après" are also analysed in some depth, to find out whether or not the particle is redundant. According to Trudgill (2004) redundant constructions are more often found in contact situations involving long-term, stable contact and child bilingualism. The particle "après" was found to add a particular shade of meaning to "chercher", and is thus not redundant. Therefore no evidence could be obtained from the current data for Trudgill’s (2004) claim.

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In language contact studies, specific features of the contact languages are often seen to be the result of transfer (interference), but it remains difficult to disentangle the role of intra-systemic and inter-systemic factors. We propose to unravel these factors in the analysis of a feature of Brussels French which many researchers attribute to transfer from (Brussels) Dutch: the adverbial use of une fois. We compare the use of this particle in Brussels French with its occurrence in corpora of other varieties of French, including several that have not been influenced by a Germanic substrate or adstrate. A detailed analysis of the frequency of occurrence, the functions and the distribution of the particle over different syntactic positions shows that some uses of une fois can be traced back to sixteenth-century French, but that there is also ample evidence for overt and covert transfer (Mougeon and Beniak, 1991) from Brussels Dutch.

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The main aim of the present article is to test hypotheses derived from the model for contact- induced language change as formulated in Thomason and Kaufman (1988 et seq.). As the model correctly predicts the asymmetries between the mutual influences of the Germanic and the Romance varieties in Brussels and Strasbourg it is a very powerful tool for describing the contact patterns in these cities. The analysis shows that the contact patterns are very similar, both from a quantitative and from a qualitative point of view, despite important differences in the sociolinguistic situation of both cities. The striking similarities in the outcome of language contact seem to find a plausible explanation in the fact that the language contact situations in both cities are similar from a typological point of view: in each city a variety of French is in contact with a Germanic variety (Alsatian and Brussels Dutch). Thus, the claim of the present article is that the structure of the languages plays a more prominent role in the outcome of language contact than the sociolinguistic history of the speakers.

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In this paper we analyse mixed compounds, such as legume+winkel ‘vegetable shop, greengrocery’ and winter+paletot ‘winter coat’ which contain a French and a Dutch element, and French nominal groups, such as carte d’identité ‘identity card’, and journal parlé ‘radio news’, which bilingual speakers from Brussels frequently insert into Brussels Dutch utterances. Using Muysken’s (2000) typology of bilingual speech, we claim that the mixed compounds and the nominal groups display the characteristics of insertional code-mixing. In addition, some evidence for the existence of a continuum between borrowing and code-switching can be obtained from these examples. As the multimorphemic units that are inserted into Dutch are neither single words, nor full constituents, their status in the lexicon raises interesting issues for researchers interested in the interface between syntax and the lexicon (see also Backus 2003). We try to argue that nominal groups such as carte d’identité and journal parlé are probably best seen as lexical templates or constructional idioms (Booij, 2002b). The insertion of French constructional idioms in Brussels Dutch represents an innovation in the lexical patterns that are available to speakers of this language, which is highly relevant for theories of language change.

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In this Special Issue, the focus is on contact-induced language variation and change in situations of societal bilingualism that involve long-term contact between French and another language. As is well known, when two or more languages are spoken by groups of speakers in the same geographical area, over time, features from one language can be transferred to the other language, especially when the languages in question are unequal in terms of prestige, institutional support and demographic factors. The process that leads to the adoption of such features in the contact languages is generally known as INTERFERENCE or TRANSFER, and these terms are also used to describe the features in question (i.e. the end product of the process of transfer). In this issue we prefer to use the term TRANSFER over the use of the notion INTERFERENCE, as the former has fewer negative connotations than the latter.

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Improved crop yield forecasts could enable more effective adaptation to climate variability and change. Here, we explore how to combine historical observations of crop yields and weather with climate model simulations to produce crop yield projections for decision relevant timescales. Firstly, the effects on historical crop yields of improved technology, precipitation and daily maximum temperatures are modelled empirically, accounting for a nonlinear technology trend and interactions between temperature and precipitation, and applied specifically for a case study of maize in France. The relative importance of precipitation variability for maize yields in France has decreased significantly since the 1960s, likely due to increased irrigation. In addition, heat stress is found to be as important for yield as precipitation since around 2000. A significant reduction in maize yield is found for each day with a maximum temperature above 32 °C, in broad agreement with previous estimates. The recent increase in such hot days has likely contributed to the observed yield stagnation. Furthermore, a general method for producing near-term crop yield projections, based on climate model simulations, is developed and utilized. We use projections of future daily maximum temperatures to assess the likely change in yields due to variations in climate. Importantly, we calibrate the climate model projections using observed data to ensure both reliable temperature mean and daily variability characteristics, and demonstrate that these methods work using retrospective predictions. We conclude that, to offset the projected increased daily maximum temperatures over France, improved technology will need to increase base level yields by 12% to be confident about maintaining current levels of yield for the period 2016–2035; the current rate of yield technology increase is not sufficient to meet this target.

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Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.

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This paper considers the attitudes of students in Years 11, 12 and 13 towards French and, in particular, how they view the reasons behind their level of achievement. It reports findings from a small-scale pilot study, conducted in four schools and colleges, involving 83 students in Year 11, 26 in Year 12 and 14 in Year 13. The findings indicate that French is perceived by many Year 11 students to be difficult and uninteresting. These students, furthermore, do not consider that French is of much benefit in terms of their future career. The data suggest that there is a tendency among students in all three year groups to attribute their lack of success in French to their own low ability and to the difficulty of tasks set, which, it is argued, may affect their levels of motivation in a negative way. Few students in the study have any insight into the importance of learning strategies in overcoming difficulties experienced in language learning. Students' attitudes are then discussed in relation to learning strategy training. It is argued that if learners are encouraged to explore the possibility that their achievement in French may be related to the efficacy of the learning strategies they use, rather than to factors such as low ability or task difficulty, their self-concept, motivation and language learning achievements can be enhanced. A brief outline is given of a planned research project which proposes to address these issues further.

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