Cómo ser padre primerizo y no morir en el intento


Book Description

Anécdotas desternillantes, trucos y consejos para aquellos que son padres por primera vez. Tu chica y tú estáis sentados en el sofá y no precisamente para ver Gran hermano. Vais a haceros un predictor. Resulta increíble pensar que tu futuro depende de una gotita de pis, ¿verdad? Si el test es positivo y estáis embarazados, ¿cómo reaccionarás?, ¿qué harás a partir de ahora?, ¿cómo vivirás las fases previas a la llegada del bebé?, ¿estás empezando a hiperventilar y no sabes nada de las clases preparto?, ¿te sientes aterrorizado y no te atreves a decirlo? Mantén la calma y disfruta del momento. Vas a ser un padre primerizo como lo fue Darth Vader o tu padre. Que la fuerza te acompañe en este viaje, con toda probabilidad el mejor de tu vida. Frank Blanco, director y presentador de Atrévete en Cadena Dial y padre por segunda vez, explica en Cómo ser padre primerizo y no morir en el intento su experiencia en el desconocido mundo de la paternidad y mediante un estilo fresco y rebosante de humor nos ofrece anécdotas y blanconsejos sobre cómo puedes actuar antes y después de la llegada de ese pequeño ser tierno y rosa al que no entiendes y que de pronto empieza a colonizar tu vida. ** Con prólogo de Pedro Piqueras «Querido lector, lo vas a pasar muy bien con la lectura de este libro. No se trata de un manual de uso acerca de esos pequeños seres que un día llegan para hacer más feliz, interesante o estresante nuestra existencia. Sus páginas están llenas de experiencias y situaciones. Disfruta de estas páginas y de tus hijos... La paternidad es lo más divertido que puede pasarte en la vida». Pedro Piqueras










The Basque Dialect of Lekeitio


Book Description

This book is a study of the Basque variety spoken in Lekeitio (Vizcaya). As such we have intended to make a direct contribution to Basque dialectology, aiming at setting certain standards for research in this area. In addition, we believe that some of the materials assembled in this work will be of interest to a larger audience beyond Basque specialists. It is for this reason that we decided to write the present book in English. In our opinion, certain linguistic aspects are treated in more detail here than in any previous work on any other Basque variety. A case in point would be accentuation, both at the lexical level and in its relation to the syntactic process of focalization.




Fact and Fiction


Book Description

This study examines a varied corpus of documentary and literary texts produced during the Miners revolution of October 1934 in Asturias.




Ozu


Book Description

"Substantially the book that devotees of the director have been waiting for: a full-length critical work about Ozu's life, career and working methods, buttressed with reproductions of pages from his notebooks and shooting scripts, numerous quotes from co-workers and Japanese critics, a great many stills and an unusually detailed filmography."—Sight and Sound Yasujiro Ozu, the man whom his kinsmen consider the most Japanese for all film directors, had but one major subject, the Japanese family, and but one major theme, its dissolution. The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society, and the ends of the earth seem no more distant than the outside of the house.




Diccionario Jurídico Inglés-español Y Español-inglés Wiley


Book Description

In today's "global village", nearly 450 million people speak English while another 350 million speak Spanish. The United States alone, with its more than 22 million Hispanic Americans, is now considered by many to be a bilingual society. As the practice of law and the resolution of legal issues, to a great extent, is all about precise communication, the impact of this on legal and business professionals is obvious - Spanish/English, English/Spanish translations are fast becoming an indispensable component of any thriving law practice or business, be it a small company or a multinational corporation. Translations are now routinely required for trials, contracts, real estate and financial transactions, and in many other situations. Clearly then, the need for a comprehensive bilingual reference such as this one has never been greater. Wiley's English/Spanish and Spanish/English Legal Dictionary offers comprehensive, up-to-date coverage of more than 40,000 essential words and phrases spanning all legal disciplines and subdisciplines including construction, real estate, insurance, business, trial, environmental law, intellectual property, family law, and more. It was written by a professional translator in collaboration with an advisory committee comprising attorneys from some of the most prominent firms in the international legal community. Featuring an extremely user-friendly format, the Dictionary was designed for quick reference. It directs you instantly to the precise equivalent you need without first "rerouting" you through a maze of other irrelevant terms and phrases. Gender neutral equivalents are provided, and in cases where the nongender neutral term is the norm, both are given.Wiley's English/Spanish and Spanish/English Legal Dictionary puts all important English and Spanish legal terms at the fingertips of attorneys, businesspeople, paralegals, and law students. It belongs on the shelves of law firms, libraries, businesses, and international agencies. It is also an essential communications tool for translators, interpreters, and civil servants.




The Wendigo


Book Description




Luis Buñuel


Book Description

The turbulent years of the 1930s were of profound importance in the life of Spanish film director Luis Buñuel (1900–1983). He joined the Surrealist movement in 1929 but by 1932 had renounced it and embraced Communism. During the Spanish Civil War (1936–39), he played an integral role in disseminating film propaganda in Paris for the Spanish Republican cause. Luis Buñuel: The Red Years, 1929–1939 investigates Buñuel’s commitment to making the politicized documentary Land without Bread (1933) and his key role as an executive producer at Filmófono in Madrid, where he was responsible in 1935–36 for making four commercial features that prefigure his work in Mexico after 1946. As for the republics of France and Spain between which Buñuel shuttled during the 1930s, these became equally embattled as left and right totalitarianisms fought to wrest political power away from a debilitated capitalism. Where it exists, the literature on this crucial decade of the film director’s life is scant and relies on Buñuel’s own self-interested accounts of that complex period. Román Gubern and Paul Hammond have undertaken extensive archival research in Europe and the United States and evaluated Buñuel’s accounts and those of historians and film writers to achieve a portrait of Buñuel’s “Red Years” that abounds in new information.




The Yellow Sign


Book Description

That evening I took my usual walk in Washington Park, pondering over the occurrences of the day. I was thoroughly committed. There was no back out now, and I stared the future straight in the face. I was not good, not even scrupulous, but I had no idea of deceiving either myself or Tessie. The one passion of my life lay buried in the sunlit forests of Brittany. Was it buried forever? Hope cried “No!” For three years I had been listening to the voice of Hope, and for three years I had waited for a footstep on my threshold. Had Sylvia forgotten? “No!” cried Hope. I said that I was not good. That is true, but still I was not exactly a comic opera villain. I had led an easy-going reckless life, taking what invited me of pleasure, deploring and sometimes bitterly regretting consequences. In one thing alone, except my painting, was I serious, and that was something which lay hidden if not lost in the Breton forests. It was too late now for me to regret what had occurred during the day. Whatever it had been, pity, a sudden tenderness for sorrow, or the more brutal instinct of gratified vanity, it was all the same now, and unless I wished to bruise an innocent heart my path lay marked before me. The fire and strength, the depth of passion of a love which I had never even suspected, with all my imagined experience in the world, left me no alternative but to respond or send her away. Whether because I am so cowardly about giving pain to others, or whether it was that I have little of the gloomy Puritan in me, I do not know, but I shrank from disclaiming responsibility for that thoughtless kiss, and in fact had no time to do so before the gates of her heart opened and the flood poured forth. Others who habitually do their duty and find a sullen satisfaction in making themselves and everybody else unhappy, might have withstood it. I did not. I dared not. After the storm had abated I did tell her that she might better have loved Ed Burke and worn a plain gold ring, but she would not hear of it, and I thought perhaps that as long as she had decided to love.somebody she could not marry, it had better be me. I, at least, could treat her with an intelligent affection, and whenever she became tired of her infatuation she could go none the worse for it. For I was decided on that point although I knew how hard it would be. I remembered the usual termination of Platonic liaisons and thought how disgusted I had been whenever I heard of one. I knew I was undertaking a great deal for so unscrupulous a man as I was, and I dreaded the future, but never for one moment did I doubt that she was safe with me. Had it been anybody but Tessie I should not have bothered my head about scruples. For it did not occur to me to sacrifice Tessie as I would have sacrificed a woman of the world. I looked the future squarely in the face and saw the several probable endings to the affair. She would either tire of the whole thing, or become so unhappy that I should have either to marry her or go away. If I married her we would be unhappy. I with a wife unsuited to me, and she with a husband unsuitable for any woman. For my past life could scarcely entitle me to marry. If I went away she might either fall ill, recover, and marry some Eddie Burke, or she might recklessly or deliberately go and do something foolish. On the other hand if she tired of me, then her whole life would be before her with beautiful vistas of Eddie Burkes and marriage rings and twins and Harlem flats and Heaven knows what. As I strolled along through the trees by the Washington Arch, I decided that she should find a substantial friend in me anyway and the future could take care of itself. Then I went into the house and put on my evening dress for the little faintly perfumed note on my dresser said, “Have a cab at the stage door at eleven,” and the note was signed “Edith Carmichael, Metropolitan Theater, June 19th, 189—.”