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sábado, 25 de agosto de 2012

Jokes in English - 24

A student is talking to his teacher.

Student: "Would you punish me for something I didn`t do?"
Teacher:" Of course not."
Student: "Good, because I haven't done my homework."

http://www.manythings.org/jokes/9985.html



A: Why are you late?
B: There was a man who lost a hundred dollar bill.
A: That's nice. Were you helping him look for it?
B: No, I was standing on it.

http://www.manythings.org/jokes/9992.html



Patient: "This hospital is no good. They treat us like dogs."
Doctor: "You know that's not true. Now roll over."



Songs of the Week






Funny Interviews with Brazilian Reporters





Book of the Week - Werewolf

Werewolf

A werewolf, also known as a lycanthrope (from the Greek λυκάνθρωπος: λύκος, lukos, "wolf", and ἄνθρωπος, anthrōpos, "man"), is a mythological or folkloric human with the ability to shapeshift into a wolf or an anthropomorphic wolf-like creature, either purposely or after being placed under a curse and/or lycanthropic affliction via a bite or scratch from a werewolf, or some other means. This transformation is often associated with the appearance of the full moon, as popularly noted by the medieval chronicler Gervase of Tilbury, and perhaps in earlier times among the ancient Greeks through the writings of Petronius.

In addition to the natural characteristics inherent to both wolves and humans, werewolves are often attributed strength and speed far beyond those of wolves or men. The werewolf is generally held as a European character, although its lore spread through the world in later times. Shape-shifters, similar to werewolves, are common in tales from all over the world, most notably amongst the Native Americans, though most of them involve animal forms other than wolves.

Werewolves are a frequent subject of modern fiction, although fictional werewolves have been attributed traits distinct from those of original folklore. For example, the ideas that werewolves are only vulnerable to silver bullets or pierced by silver weapons, or that they can cause others to become werewolves by biting or wounding them derive from works of modern fiction. Werewolves continue to endure in modern culture and fiction, with books, films and television shows cementing the werewolf's stance as a dominant figure in horror.

To read the book in PDF, click on the following site:

 

History of English

History of the English language

From Wikipedia, the free encyclopedia

English is a West Germanic language that originated from the Anglo-Frisian dialects brought to Britain by Germanic invaders and/or settlers from various parts of what is now northwest Germany and the Netherlands. Initially, Old English was a diverse group of dialects, reflecting the varied origins of the Anglo-Saxon kingdoms of Britain. One of these dialects, Late West Saxon, eventually came to dominate.

The English language underwent extensive change in the Middle Ages. Written Old English of AD 1000 is similar in vocabulary and grammar to other old Germanic languages such as Old High German and Old Norse, and completely unintelligible to modern speakers, while the modern language is already largely recognisable in written Middle English of AD 1400. The transformation was caused by two further waves of invasion: the first by speakers of the Scandinavian branch of the Germanic language family, who conquered and colonized parts of Britain in the 8th and 9th centuries; the second by the Normans in the 11th century, who spoke Old Norman and ultimately developed an English variety of this called Anglo-Norman. A large proportion of the modern English vocabulary comes directly from Anglo-Norman.

Close contact with the Scandinavians resulted in a significant grammatical simplification and lexical enrichment of the Anglo-Frisian core of English. However, these changes had not reached South West England by the 9th century AD, where Old English was developed into a full-fledged literary language. The Norman invasion occurred in 1066, and when literary English rose anew in the 13th century, it was based on the speech of London, much closer to the centre of Scandinavian settlement. Technical and cultural vocabulary was largely derived from Old Norman, with particularly heavy influence in the church, the courts, and government. With the coming of the Renaissance, as with most other developing European languages such as German and Dutch, Latin and Ancient Greek supplanted Norman and French as the main source of new words. Thus, English developed into very much a "borrowing" language with an enormously disparate vocabulary.

Grammar Tips

Tips on Grammar, Punctuation and Style 

Commas and semi-colons. If the rules you learned about commas and semi-colons don't mean much to you, forget them and try this: Read one of your sentences aloud and see where you would naturally pause, where you would draw a breath. If it's a short pause, like that just was, you probably need a comma. If it's a longer pause, but not quite a full stop (for which you'd need a period), you probably need a semi-colon; remember that whatever follows a semi-colon must be able to stand on its own, as a full sentence, like this one.
If you don't want your reader to pause, there shouldn't be a comma, there, because as, this demonstrates it's very difficult to figure, out, what you're saying when your punctuation, makes the sentence unreadable.
Your sentences shouldn't leave your reader hyperventilating from the constant shallow breaths that over-punctuation requires. Nor should they be gasping for breath at the end of a long, unpunctuated sentence. (Consider yourself responsible for your readers' cardiovascular health.)

Check your dashes and hyphens. When you're setting off a clause—this one is a good example—use the longer dash, called an m-dash. (You can indicate this dash with two hyphens—like this—if you don't have an m-dash function on your computer.) Be sure that the parts of the sentence that precede and follow the dashes would make sense even if you removed the dashes and the words they bracket. (In the example above, the sentence is readable with or without the clause inside the dashes.)
You can also use the m-dash in place of a colon if you want to emphasize more dramatically the words that follow: "The mantlepiece was lined with photographs of people she loved—her mother, her grandmother, a favorite aunt." Or you can use it to add a surprising element into a sentence: "Her family's photographs were displayed on the mantlepiece; there were pictures of parents, grandparents, and siblings—and of Muffin, a Yorkshire terrier." Whereas the m-dash is used to set off parts of a sentence, hyphens are used to join words together: broken-hearted, two-thirds, sister-in-law.

Always identify abbreviations before you use them, unless you feel reasonably confident that the average intelligent reader would be able to identify the acronym—like when the acronym is more commonly used than the words it stands for. (It would be odd to write out all the words for ESP, NATO, CEO, or AIDS.) Keep in mind the audience for the particular essay you're writing, though; readers who are specialists in a particular discipline may not want or need to have terms spelled out for them.

Try to avoid split infinitives. This is no longer a hard and fast rule, and occasionally keeping an infinitive together in a sentence can introduce more awkwardness than the split, but usually the split is ungraceful. (Imagine: To be or to not be.)

Make sure all your referents are clear. When you say "This theory" or "that point" or, simply, "it," is it clear which theory or point you're referring to? When you use "he" or "she" or "these critics," will your reader have to pause to figure out who all these people are?

There's more to say about this. We often throw in a "this" when we're not entirely sure exactly what we want to draw our readers' attention to, especially when we're making a complex argument with many different elements. Sometimes vagueness in our language can be a symptom of muddled thinking. So ask yourself, what does this "this" refer to? What words would I replace it with? If you're not easily able to answer, you need to go back and work out your ideas in that section. (Readers will never understand what you mean when you don't know yourself. When you notice vague referents, or other apparently minor problems, take the opportunity to ask yourself if there might be any larger problem lurking beneath your surface error.)

Never use "that" when you're referring to a person: "The first man that walked on the moon." "The author that she was referring to." These are people, not objects—it's insulting to call them "that." Use who or whom: "The first man who walked on the moon." "The author to whom she was referring." Are you using "that" because you're shaky on the who/whom thing? See below. (And while you're at it, consider whether you're twisting your sentences around to avoid any other grammatical points you're uncertain of. If so, take control! Liberate yourself! Learn the rules once and for all so you can write freely, instead of skulking around trying not to break the rules—or breaking them without realizing it. Try starting a text file in which you list the rules you tend to forget, and keep it open when you write. You can look rules up in any style manual, or come to the Writing Center.)

Who is what doing what to whom? That's the question you need to ask yourself if you're uncertain which word to use. The one that does the action (the subject) is who. The one that gets something done to it (the object) is whom. 
 
Avoid passive voice. It tends to sap energy and power from your prose. It's usually better to say "Einstein's theory" than "the theory that was formulated by Einstein."

Italics and underlines. You can use one or the other but never both. They mean the same thing—underlining used to be a copy-editing mark to tell printers to set certain words in italic type. Underlining italics meant the editor wanted the words taken out of italics. So underlining your already- italicized phrase is, in effect, like using a double negative.

Be sure all of your sentences have parallel construction. This sentence doesn't have it: "Re- reading my first draft, I notice it's trite, repetitive, and with no thesis." This sentence does: "Re- reading my first draft, I notice that it's trite and repetitive, and that it has no thesis." Or you could say: "Re-reading my first draft, I notice it's trite, repetitive, and lacking in a thesis." In the two examples with parallel construction, you could take out any of the words in the list and still have the sentence make sense.

Copyright 1999, Kim Cooper, for the Writing Center at Harvard University 

For some exercises on the topcis above, visit the following websites:

http://oxforddictionaries.com/words/grammar-tips

Recipe of the Week - Pasta Primavera

Pasta Primavera

Ingredients

Directions

Bring a large pot of salted water to a boil. Add the fusilli and cook as the label directs. Add the sugar snap peas and/or broccoli, carrots and bell pepper to the boiling water during the last 2 minutes of cooking. Reserve 1/2 cup cooking water, then drain the pasta and vegetables and return to the pot.
Meanwhile, heat the olive oil in a large skillet over medium heat. Add the garlic and cook until just golden, about 30 seconds. Add the tomatoes, red pepper flakes and 1 teaspoon salt; cook until the tomatoes begin to wilt, about 2 minutes. Stir in 1/4 cup of the reserved cooking water. Pour the tomato mixture over the pasta and vegetables. Add the mint, parmesan and half the goat cheese and toss to combine. Season with salt.
Divide the pasta among bowls. Top with the remaining goat cheese and drizzle with olive oil.
Per serving: Calories 638; Fat 27 g (Saturated 10 g); Cholesterol 33 mg; Sodium 841 mg; Carbohydrate 77 g; Fiber 7 g; Protein 24 g

ACTIVE: 30 min l TOTAL: 30 min l SERVES: 4