noviembre 27, 2015

Specific Rules #3 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English names for secondary authors



Translate the word found for editor, translator, illustrator, or other secondary author into English if possible. However, the wording found on the publication may always be used.


If not translated, ignore diacritics, accents, and special characters in words. This rule ignores some conventions used in non-English languages to simplify rules for English-language publications.

– Treat letters marked with diacritics or accents as if they are not marked:

Å treated as A

Ø treated as O

Ç treated as C

Ł treated as L

à treated as a

ĝ treated as g

ñ treated as n

ü treated as u

– Treat two or more letters printed as a unit (ligated letters) as if they are two letters:

æ treated as ae

œ treated as oe


To assist in identifying secondary authors, below is a brief list of non-English words for them:

LanguageWord for EditorWord for TranslatorWord for Illustrator

Frenchredacteurtraducteurillustrateur
editeur

Germanredakteurubersetzerillustrator
herausgeberdolmetscher

Italianredattoretraduttoredisegnatore
curatore
editore

Russianredaktorperevodchikkonstruktor
izdatel

Spanishredactortraductorilustrador
editor



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: More than one type of secondary author

Specific Rules #2 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Secondary author performing more than one role

Specific Rules #3 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English names for secondary authors

Specific Rules #4 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Organization as editor

Examples for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«La lecture numérique à l’école: Progrès ou dérive?»




Table ronde dans le cadre du Salon du livre de Montréal, organisée par l'Association des Libraires du Québec.

Questions débattues: les avantages et les limites de l'apprentissage de la lecture sur support numérique, ses liens avec l'imprimé, mais aussi, et surtout, la place de la lecture chez les jeunes d'aujourd'hui seront au coeur de cette discussion.

Animateur:

Normand Baillargeon, professeur en sciences de l'éducation à l'UQAM.

Participants:

- Marie-Claude Gauthier, enseignante de français au secondaire.

- Thierry Karsenti, titulaire de la Chaire de recherche du Canada sur les TIC en éducation.

- Julie Marcoux, conseillère pédagogique à la CSDM.

- Yves Nadon, enseignant au primaire.

- Antoine Robitaille, éditorialiste et responsable de la page Idées au journal Le Devoir.






«Invitación a la lectura: Víctor Klemperer, “LTI: La lengua del III Reich. Apuntes de un filólogo”»








noviembre 26, 2015

Specific Rules #2 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Secondary author performing more than one role



If the same secondary author performs more than one role:

List all the roles in the order they are given in the publication.

Separate the roles by "and".

End secondary author information with a period.

Example:

Jones AB, editor and translator.



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: More than one type of secondary author

Specific Rules #2 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Secondary author performing more than one role

Specific Rules #3 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English names for secondary authors

Specific Rules #4 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Organization as editor

Examples for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«The Power of Rhetoric, withMike Edwards»




«On the occasion of his visit to the Milton Keynes' campus of The Open University, CC'S Anastasia Bakogianni caught up with Professor Mike Edwards (Roehampton University, London). Mike talks to us about the bad reputation of Rhetoric and how Plato and Aristotle contributed to this negative view of his favourite subject.

»Mike tells us how he fell under the spell of Rhetoric while studying with Stephen Usher at Royal Holloway College, London, who taught him that rhetorical speeches are worthy of study in their own right rather than as simply evidence for the study of ancient history and law. He talks to us about the joy of editing and translating rhetorical texts and his interest in the minutiae of manuscripts and their transmission.

»Mike tells us about the rare joy of rediscovering a 'lost' text. He was involved with the Archimedes palimpsest project working closely with other experts in the field to uncover a lost manuscript written by Hyperides, an Athenian orator from the fourth century BCE, that was discovered hidden underneath a thirteenth-century prayer book.

»Mike believes strongly that the works of the Greek and Latin orators should be accessible through translations to ensure the survival of the subject. Towards that end he translated the complete works of Isaeus (University of Texas, 2007), another fourth century BCE orator who specialised in inheritance law. Mike's volume belongs to the Oratory of Classical Greece series edited by Michael Gagarin.

»Mike is Vice-President of the International Society for the History of Rhetoric and was editor of its journal Rhetorica (2005-11), which accepts submissions in six languages, including Latin!

»He is currently working on a new Oxford text of Isaeus and enjoying the process of going back to the Greek text.» (Classics Confidential)






«Comment survivre à l'ère du numérique? 5 stratégies gagnantes»



Christophe Charlot et Gilles Quoistiaux
Numerik. L'actu connectée
Trends-Tendances




«Face aux géants du Net et à l'"ubérisation" croissante de l'économie, la riposte doit s'organiser. Mais il n'est pas toujours facile de savoir comment faire face à des colosses super agiles. Voici quelques pistes.

»Nos entreprises évoluent dans un marché en plein bouleversement où les règles du jeu ne sont plus les mêmes. "Un des gros pôles de changement, c'est le client lui-même, analyse Frédéric Debruyne, partner chez Bain & Company. Avant, les sociétés divisaient leur public en segments de clients. A présent, grâce aux technologies, chacun d'eux devient unique et chaque consommateur veut être vu comme une individualité. De plus, les besoins des clients peuvent être anticipés grâces aux données qui sont collectées.

»Des entreprises comme Amazon ou Netflix se basent sur les comportements de leurs utilisateurs pour réaliser de l'analyse prédictive et leur faire des propositions pertinentes. De plus, le consommateur devient demandeur d'un tel comportement de la part des entreprises. A cela s'ajoute la faculté pour les entreprises de faire des tests (sur leurs services ou leurs produits) en temps réel, ce qui décuple l'inventivité des acteurs qui parviennent à s'adapter à tous ces changements technologiques."

»Le numérique, c'est bien beau, en effet. Mais quand on est une entreprise traditionnelle, qu'on a un passé, des actifs et qu'on fabrique un produit spécifique, il n'est pas si simple d'anticiper l'arrivée d'un acteur du numérique sur son créneau... "Tous les secteurs vont être impactés par la transformation digitale, affirme Didier Tshidimba managing partner au cabinet de conseil Roland Berger. La vraie question, c'est de savoir à quel niveau la transformation de son business aura lieu. En tant qu'entreprise, il faut se demander si cela changera son mode opératoire, un certain nombre d'éléments de sa création de valeur ou bien si cela modifiera ses interfaces avec le monde extérieur, comme les clients. Ce sont trois niveaux de changement qu'il faut bien identifier." Souvent, quand un service, un produit ou un processus de production peuvent être améliorés, le risque de se faire "ubériser" devient réel.



»Ne pas vendre un "moyen" mais répondre à un besoin

»Mais plus fondamentalement encore, il faut s'interroger sur son produit et se demander s'il sera encore pertinent à l'avenir. "Plus le produit que l'on propose au client est un moyen, plus l'entreprise est en danger, analyse le responsable de Roland Berger. Prenons l'exemple d'une voiture : elle est un moyen de transport... pas un besoin. Le vrai besoin est celui de la mobilité. Or la technologie va trouver de nouveaux moyens pour répondre aux besoins existants." Voilà pourquoi des acteurs comme Daimler ou Renault commencent à développer, dans certaines villes, des solutions de véhicules partagés. Les consommateurs sont désormais à la recherche de solutions qui leur simplifient la vie, dans le transport comme ailleurs. Ce n'est plus la propriété d'un véhicule qui les intéresse mais de nouvelles manières efficaces de se déplacer. Pareil pour la musique : ne plus posséder le CD n'est pas grave, tant que le consommateur accède à sa musique (via un abonnement par exemple). Et c'est vrai dans un nombre croissant de domaines. Les acteurs du numérique (petits ou grands) l'ont compris : ils n'attaquent plus le marché par la seule technologie, mais bien par l'usage qu'ils proposent. Or ce qu'ils font, les grandes acteurs (énergéticiens, banques, assurances, etc.) mais aussi les PME traditionnelles pourraient le faire. Voilà pourquoi nombre de grands groupes tentent de rattraper le coup et créent des spin-off en vue de générer l'innovation, rachètent des start-up ou créent des lab en interne. "Mais le gros challenge reste de changer la culture d'entreprise pour se placer sous le signe de l'innovation, souligne Frédéric Debruyne (Bain & Company). Pour identifier les nouveaux créneaux porteurs mais aussi pour attirer les talents digitaux."



»Six "check points" numériques

»En Belgique, BNP Paribas Fortis a lancé en interne l'initiative Home For Innovation où s'organisent des pop-up teams de quatre à six collaborateurs détachés de leurs fonctions pendant quatre mois pour déployer des projets innovants au sein de la banque. Huit idées doivent être développées chaque année. Parmi les projets sélectionnés lors de la première vague, on trouve l'utilisation de la biométrie pour faciliter l'identification du client, des solutions d'achats collectifs d'immobilier, des crédits hypothécaires spécifiques pour la finance islamique, etc.

»Mais s'il s'agit d'opérer une mutation de son entreprise traditionnelle, Frédéric Debruyne épingle six grands points sur lesquels agir pour éviter qu'un autre acteur ne s'empare de cette "faiblesse" : comment transformer les relations et les interactions avec les clients ? Comment adapter sa supply chain ? Les plateformes IT de l'entreprise sont-elles toujours d'actualité ? L'entreprise est-elle équipée pour exploiter efficacement les données et faire de l'analyse de données ? Et, enfin, les profils existants dans l'entreprise sont-ils orientés numérique, y compris dans la direction ? Des questions que chaque société (grande ou petite) peut se poser et qui, rapidement, peut lui donner un aperçu du chemin pour parer son entreprise aux défis du numérique.



»Cinq stratégies gagnantes face au numérique

»Dans une économie de plus en plus dominée par les géants du Net, Fabernovel épingle dans son étude "GAFAnomics saison 2" cinq stratégies que les entreprises traditionnelles peuvent adopter pour se faire une place.


»1. Se brancher sur les Gafa

»A l'image d'Uber qui utilise massivement les services ouverts des géants du Net, l'option la plus simple est de se plugger sur les Gafa. "Les entreprises sont aptes et prêtes à tester de nouvelles choses, décrypte Louis Mullard (Fabernovel). Et elles s'approprient des outils comme WhatsApp, Periscope, les moyens de paiement d'Apple, etc." La seule crainte étant, bien sûr, de perdre la relation client.


»2. Nouer des partenariats avec les Gafa

»Signer des deals exclusifs avec les acteurs du numérique pour créer un avantage compétitif sur la concurrence. De grands comptes, comme Allianz et Tesla, ont ainsi proposé des assurances sur mesure aux conducteurs. Audi et Amazon ont de leur côté imaginé ensemble des tests de livraisons de colis dans le coffre des voitures.


»3. Engager la compétition

»C'est la stratégie offensive. Celle qui consiste à proposer des services concurrents aux Gafa sur leur propre terrain. Bien sûr, il faut s'assurer d'avoir une proposition supérieure et à forte valeur ajoutée.


»4. Jouer la différenciation

»Lancer des services innovants dans les domaines délaissés par les géants du numérique. Cela nécessite de gros investissements en technologie et pour parvenir à toucher le public, "mais cela peut s'avérer payant", soutient Fabernovel.


»5. Co-innover avec les Gafa

»Pourquoi ne pas tester des expériences avec les Gafa ? Un groupe comme Levi's s'est, par exemple, associé à Google sur le créneau des textiles intelligents. Et ce n'est pas l'apanage des seules grandes entreprises : la start-up belge Softkinetic s'était frottée à une série de grands noms comme Google, Intel et bien d'autres pour expérimenter. Il est aussi possible de co-innover avec d'autres acteurs traditionnels pour faire face aux "vampires numériques". Ainsi, c'est un consortium de constructeurs auto (BMW, Audi et Daimler) qui a racheté le service de cartographie de Nokia. Le service de streaming vidéo Hulu, concurrent de Netflix, a lui été lancé par Fox, NBC et Disney...»






noviembre 25, 2015

Specific Rules #1 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: More than one type of secondary author



A book may have several types of secondary author.

List all of them in the order they are given in the publication.

Separate each type of secondary author with the accompanying role by a semicolon.

End secondary author information with a period.

Examples:

Graber AF, Longstreet RG, translators; Johnson CT, Marks C, Huston MA, illustrators.



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: More than one type of secondary author

Specific Rules #2 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Secondary author performing more than one role

Specific Rules #3 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English names for secondary authors

Specific Rules #4 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Organization as editor

Examples for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«Has / haz»


De las preguntas más frecuentes planteadas por los
usuarios del servicio de consultas lingüísticas
de la Academia Española de la Lengua



«a) has

»Se trata de la forma correspondiente a la segunda persona del singular del presente de indicativo del verbo haber (yo he, tu/vos has, él ha, nosotros hemos, vosotros habéis, ellos/ustedes han), con el que se forman los tiempos compuestos de la conjugación. Así, la forma has, seguida del participio en -o del verbo que se está conjugando, da lugar a la segunda persona del singular del pretérito perfecto compuesto (o antepresente) del modo indicativo:

»Has llegado tarde.

»¿Has ido a ver a tu padre?


»Esta forma se emplea además como segunda persona del singular de la perífrasis verbal haber de + infinitivo, que denota obligación o necesidad y equivale a la más frecuente hoy tener que + infinitivo:

»Has de estudiar más. [= Tienes que estudiar más].

»Has de saber que serás castigado. [= Tienes que saber que serás castigado].




»b) haz

»Como verbo, se trata de la forma de imperativo correspondiente al pronombre tú del verbo hacer:

»Haz lo que te digo o no te dejaré salir.

»Haz lo que tengas que hacer.»




«Digital Evolution»



«DIGITAL INDIA WEEK - IISER Bhopal (Indian Institute of Science Education and Research, Bhopal)

»Competition - Go Viral!

»Theme - The world at my fingertips

»Team Name - 7 factorial

»Credits:

»ACTORS Yagna, Ayush, Parul, Shitij

»DIRECTOR: Saptarishi and Sanchali

»CAMERAMAN AND EDITOR: Krishna

»NARRATION AT THE END: Ayush»






«How to learn grammar – any grammar!!!»



«English Grammar is frustrating to remember because there are so many rules -- and so many exceptions to the rules! When you learn a new grammar point, it is very important to remember two things: the how we use it and why we use it. I will teach you what you need to remember and give you lots of examples so that you can use your time effectively and learn ANY grammar point!

»Take the quiz here: http://www.engvid.com/how-to-learn-any-grammar/

»TRANSCRIPT

»Hello. Do you have to learn grammar? I have to learn grammar sometimes. I'm a grammar teacher. And I know grammar is really, really difficult sometimes. And it just makes you want to scream, pull your hair out, freak out, and cry sometimes. "I hate grammar." The reason why grammar is so difficult is because it's confusing; you have to remember so many rules; and then, there are exceptions to these so many rules; and it's just really confusing; and it's very different from your native language or languages, depending on how many you speak. So really, really easy, really effective method to learn any grammar ever in the world. So today's lesson is how to learn, remember, and use any grammar that is on a test, whether you're taking TOEFL or TOEIC or IELTS or Cambridge -- anything that you have to remember grammar for, this is going to be a godsend for you. It's going to help you so much. Great. So let's get into it.

»First one, you have two points to remember. That's it. Two. Done. The first one is the structure. You have to remember and know how the grammar is made. Okay? The second point is how or why do we use this? Why do I need to learn this stupid grammar? Am I ever going to use it in real life? Why would I say this? Why do I need present perfect? Why can't I just use simple past? Why do I need continuous? Why do I need passive? These are the questions you have to ask two people, one, your teacher, and two, yourself. If you are teaching English and you don't know structure, and more importantly, how and why, you've got some homework to do.

»People -- students have asked me, "Teacher, why?" "I don't know." Just say to them, "I don't know." Go look it up. Do some research. Find the answer. The best thing is to find your own answer if you have to do this. So let's dive into this.

»First of all, when I say "structure", I mean how do you make the grammar? How do you make the sentence? So if I give you the example of present continuous, this is the name of the grammar. If you just remember the name of the grammar, it's useless. So it comes to the test and it says, "Write a present continuous sentence." He's like, "Uh, I know present continuous. How do you make it?"

»So the way that I always remember grammar is I always like to use a subject. Now, if you want to replace the word "subject" with any other word like [random sounds] or "dog", that's cool. But I like to use "subject" as my beginning.

»Then, for present continuous, it's going to be "to be verb". But instead of just writing "to be verb", it really, really helps you if you write out the different forms of the "to be" verb. So for example, "I am", "he is", "we are". Okay?

»The second thing -- sorry. The last thing in the present continuous that makes the verb continuous is you're going to have the -ing. So the structure or the form that I like to use for the present continuous is subject + "am", "is", "are" + verb + ing. The present continuous also has another name, which is "present progressive". They're exactly the same grammar point. The usages are the same. But it's just a different word for it. Don't worry. It's cool. Don't worry about it.

»So next step -- we've got the structure. Next step, very important, how or why do I use this? Why do I need to use this grammar? Why do I need to learn this grammar? You need to learn it because it's on your test. But as soon as the test is finished, why would I use this? How would I say this in my life? Answer -- actions you are doing now. What are you doing right now? Are you watching a video? I think you are. So maybe you're watching a video. Maybe you're eating something. Maybe you're brushing your teeth. I can't see you. You can see me. What are you doing? Ah. Okay. Good. So present continuous, as an example, structure, how and why.

»Another really, really good thing to do is to write down as many examples as you can. It's always good to practice the grammar written. Also, talk. Speak. Get a video recorder and talk into it -- or tape recorder, digital recorder. Listen to yourself saying the new grammar sentences. It will help you remember if you play it back.» (EnglishLessons4U - Learn English with Ronnie! [engVid])






noviembre 24, 2015

General Rules for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style



A secondary author modifies the work of the author. Examples include editors, translators, and illustrators.

Place the names of secondary authors after the title, following any Type of Medium or Edition statement.

Use the same rules for the format of names presented in Author/Editor above.

Follow the last named editor with a comma and the word editor or editors; the last named illustrator with a comma and the word illustrator or illustrators, etc.

End secondary author information with a period.

If there is no author, move secondary authors such as editors and translators to the author position in the reference.


Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: More than one type of secondary author

Specific Rules #2 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Secondary author performing more than one role

Specific Rules #3 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English names for secondary authors

Specific Rules #4 for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Organization as editor

Examples for Editor and other Secondary Authors (optional) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«What is Discourse Analysis?»




«Discourse and discourse analysis are defined, briefly, in three ways: 1) as language beyond the sentence, 2) as language in use, and 3) as larger social processes that precede and are produced by language.» (Educational Foundations and Research, University of North Dakota)






«Sacrés Caractères»




«Série 12 x 2'30''

Coproducteurs: Les Films d'ici, Les Trois Ours et Radio France

Réalisateurs: Thomas Sipp et Serge Elissalde

Auteur: Thomas Sipp

12 films courts sur des polices qui ont du caractère!...

Tous les jours, dans la rue, au bureau, à la maison, nous sommes en contact avec des milliers de caractères typographiques différents. Leur omniprésence s'est encore renforcée avec la multiplication des écrans qui nous environnent. Nous les lisons, nous les écrivons, nous les envoyons. Times, Futura, Helvetica, Mistral, Bodoni, Garamond,etc... ces "sacrés caractères » sont des intimes inconnus que nous fréquentons sans même le savoir."

Retrouvez-nous sur http://www.magelis.org

L'équipe MagelisTV» (MagelisTV)



En savoir plus:

«Sacrés Caractères: la typographie vue par France Culture», La boite verte.




noviembre 20, 2015

Specific Rules #3 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: First editions



If a book does not carry any statement of edition, assume it is the first or only edition.

Use 1st ed. only when you know that subsequent editions have been published and you are citing the earlier one.


Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Abbreviation rules for editions

Specific Rules #2 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English words for editions

Specific Rules #3 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: First editions

Examples for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«Pragmatics – David Crystal»




Sitio web de David Crystal






«What Publishers Must Consider When Planning Their Mobile Strategies»



Rob Rasko. Marketing Land




«Mobile traffic on most publishers’ sites has been soaring in recent months, sparking them to consider fundamental and strategic issues about the future of their businesses. The underlying question: what’s the optimal way to respond to internet users who are increasingly doing their browsing on mobile devices?

»However, understanding the unique technology and opportunities and evaluating dozens of potential vendors has become increasingly challenging in today’s multi-screen, multi-platform environment. All publishers need to partner with technology vendors in order to monetize their mobile content and maintain their brand experiences.

»The best way to address this complex problem is to break down the process into manageable parts, which helps publishers build a smart mobile strategy.


»Infrastructure, Creative and Monetization

»The three categories I recommend are Infrastructure (including ad serving and SDKs), Creative and Monetization.

»Publishers — regardless of the format of their mobile content — all share the same basic concerns: managing the user experience, traffic, content and advertising. Their approach to managing and monetizing the mobile experience will have an effect on just about every aspect of their business going forward.

»As Wouter Vermeulen, senior director of Platform Sales & Product Marketing at Opera Mediaworks, told me, “One of the most critical operational challenges that our industry is facing today is selecting the best mobile infrastructure technology partner. Critical decisions made today will have an impact tomorrow and in the years going forward.”


»Understanding Consumer Intent

»When thinking about mobile monetization, it’s helpful to start by considering the consumer’s intent when arriving on the mobile platform. Specifically, what is the experience that the user is expecting?

»Users who engage with content-first publishers via mobile devices are seeking to access relevant content as easily as possible. Users of app-first publishers (e.g., Google Maps, Yelp) tend to be more task- or activity-driven. They expect a highly interactive experience that quickly provides them with utility and results.

»It’s critical for publishers to consider how those differences in user experience impact their vendor evaluation process.

»It is surprising that there is actually a debate about whether or not ad servers matter in today’s mobile ecosystem.

»Some say that ad servers are simply dumb boxes that point to an ad, especially when compared to robust data management platforms that use multiple data points to determine which ads to show to which users on which devices at any particular time or location.

»However, ad serving is still at the core for publishers who rely on direct sales to sell most or all of their mobile ad campaigns.

»Given that your decision on how to approach mobile monetization will have long-term consequences, all of your vendor selection processes must be in the context of that decision. Here are a few key considerations.


»What To Consider When Choosing Your Vendor

»For mobile app publishing, understanding the strengths and weaknesses of each potential SDK (software development kit) is one of the most important considerations for a mobile publisher.

»When you choose to insert code into your app, you are at the mercy of that SDK. When SDKs are updated, your entire app must be re-tested and potentially resubmitted to your respective app stores for approval.

»Mobile monetization can also be driven by offering richer, more engaging ad formats that can be sold at higher CPMs based on engagement with the user. While a publisher may not be selling native advertising today, choosing a vendor that doesn’t support native ad formats can cut a publisher off from significant revenue down the road.

»Ensuring that your technology partners support video, MRAID and IAB’s Mobile Rising Stars ad units provides the flexibility to create truly impactful mobile ad experiences.

»Cross-device targeting is another major consideration for publishers to contemplate as they decide which technology vendors to work with. Having the ability to identify and sell specific audiences, whether they are viewing your content on the desktop or mobile device, can mean the difference between pennies and dollars on your eCPMs.

»Being able to leverage your own first-party data or marry it with other third-party data drives tremendous value when combined with mobile-first data, such as device, operating system, carrier and bandwidth.»






noviembre 19, 2015

Specific Rules #2 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English words for editions



For non-English edition statements in the roman alphabet (French, German, Spanish, Italian, etc.):

– Provide the name in the original language.

– Abbreviate common words used in edition statements if the language is a familiar one.

– Capitalize only the first word and proper nouns unless the particular language requires capitalization of other words.

– Ignore diacritics, accents, and special characters in words. This rule ignores some conventions used in non-English languages to simplify rules for English-language publications.


• Treat letters marked with diacritics or accents as if they are not marked.

Å treated as A

Ø treated as O

Ç treated as C

Ł treated as L

à treated as a

ĝ treated as g

ñ treated as n

ü treated as u


• Treat two or more letters printed as a unit (ligated letters) as if they are two letters.

æ treated as ae

œ treated as oe


– Do not convert numbers or words for numbers to arabic ordinals as is the practice for English language publications.

– This assists those unfamiliar with a language and avoids awkward constructions.

– Separate the edition from the title proper by a space.

– Retain the punctuation used in the edition statement.

– Follow abbreviated words by a period and end edition information with a period.

Examples:

Ed. 1a.

5. ed. interamente riv. e aggiornata.

2. ed. veneta.

Nuova ed.

Seconda ed.

4a ed. rev. e ampliada.

2° ed. ampliada y actualizada.

2., Aufl.


For an edition statement in Cyrillic, Greek, Arabic, Hebrew, Korean:

– Romanize (write in the roman alphabet) the words for edition. A good authority for romanization is the ALA-LC Romanization Tables.

– Abbreviate common words used in edition statements if the language is a familiar one.

– Capitalize only the first word and proper nouns unless the particular language requires capitalization of other words.

– Ignore diacritics, accents, and special characters in words. Treat letters marked with diacritics or accents as if they are not marked. This rule ignores some conventions used in non-English languages to simplify rules for English-language publications.

Examples: ĉ or ç becomes c


– Do not convert numbers or words for numbers to arabic ordinals as is the practice for English language publications. This assists those unfamiliar with a language and avoids awkward constructions.

– Separate the edition from the title proper by a space.

– Retain the punctuation used in the edition statement.

– Follow abbreviated words by a period and end all edition information with a period.

Examples:

Izd. 3., perer. i dop.

2. dopunjeno izd.

2. ekd. epeux.

3. ekd.


For an edition statement written in a character-based language such as Chinese and Japanese:

– Transliterate or translate the words for edition.

– Do not abbreviate any of the words or omit any words.

– Use the capitalization system of the particular language.

– Ignore diacritics, accents, and special characters in words. Treat letters marked with diacritics or accents as if they are not marked. This rule ignores some conventions used in non-English languages to simplify rules for English-language publications.

Examples:

ŏ becomes o

ū becomes u


– Do not convert numbers or words for numbers to arabic ordinals as is the practice for English language publications. This assists those unfamiliar with a language and avoids awkward constructions.

– Separate the edition from the title by a space.

– Retain the punctuation used in the edition statement.

– End all edition information with a period.

Examples:

Shohan.

Dai 1-han.

Dai 3-pan.

Di 3 ban.

Cai se ban, Xianggang di 1 ban.

Che 6-p`an.


To help identify editions in other languages, below is a brief list of Non-English words for editions with their abbreviations, if any (n.a. = not abbreviated):


LanguageWord for EditionAbbreviation

Danishoplagn.a.
udgave

Dutch uitgaveuitg.
editieed.

Finnishjulkaisu julk.

Frencheditioned.

GermanAusgabeAusg.
AuflageAufl.

Greek ekdosisekd.

Italianedizione ed.

Norwegianpublikasjon publ.
utgaveutg.

Portugueseedicaoed.

Russianizdanie izd.
publikacijapubl.

Spanishedicioned.
publicacionpubl.

Swedishupplagan.a.



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Abbreviation rules for editions

Specific Rules #2 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English words for editions

Specific Rules #3 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: First editions

Examples for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«InfoTrends Completes Study on Digital Production Printing Market Opportunities in China»



InfoTrends




«InfoTrends is pleased to announce the completion of a new study surrounding digital production printing market opportunities in China. The Chinese printing market is still growing in revenue, lead by the packaging printing industry. That being said, if packaging is excluded, the market is in decline. Like the whole economy, the print industry is moving to the “New Normal” period.

»POD: China 2015 forecasts that placements of the color/B&W production printer will slightly decrease in 2015. After that, the market is expected to increase in 2016. A certain amount of quick printers’ business is still growing, and demands for replacements will continue.

»InfoTrends has also found that China’s print industry is changing, from rapid expansion to a mature period. This will cause commercial printing companies to start thinking about the next differentiator. This will be the same evolution as in developed countries like Japan. These changes will drive the penetration of digital printers. Additionally, this study will:

»• Size and forecast China’s digital printing market in terms of expected device placements, volume growth, growth by customer segments, and application growth.

»• Identify market trends and demand drivers for digital printing.

»• Uncover local market trends through interviews with top digital production printers, distributors, and print service providers.

»• Identify and track top local printer manufacturers and distributor activities.

»• Provide a guide to the distributions behavior in the changing local markets.

»• Discover second-hand printer market trends in China.»






«Christiane Taubira: magie de la rhétorique ou rhétorique de magicienne?»



Christophe de Voogd (Rhétorico-laser). atlantico




«Voilà une comparaison qui, assurément, ne plaira ni à l’un ni à l’autre: Christiane Taubira partage avec Nicolas Sarkozy plus d’un point commun et notamment le fait d’être tous deux excellents orateurs et débatteurs (qualité reconnue par leurs propres adversaires). Ils disposent d’un impressionnant arsenal rhétorique, où là encore les similitudes sont frappantes: mise en avant constante de leur ethos ("personnalité passionnée qui assume"; "valeurs sacrées sur lesquelles on ne transige pas"), recours à des figures de style identiques comme l’anaphore et la question rhétorique, large palette expressive (parfois trop!) de la gestuelle et du visage.

»Et tous deux cibles privilégiées du débat média-politique.

»Après la semaine "anti-Sarko", nous avons eu une longue semaine anti-Taubira, mais cette fois dans la rue: policiers, avocats et personnels pénitentiaires sont venus tour à tour assiéger la chancellerie pour clouer au pilori sa politique pénale. Rudes journées d’octobre qui rappellent celles d’un autre octobre (1789) lorsque le peuple venait conspuer Marie-Antoinette jusque sous son balcon: la place Vendôme n’a-t-elle pas un petit air de Versailles?

»Heureusement, au terme de cette séquence désastreuse, Christiane Taubira a eu la "chance" (l’on ne parle pas ici de morale mais d’impact médiatique) de se voir insultée par une élue d’opposition, dans l’une de ces sorties où l’abjection raciste le dispute à la sottise politique: nouveau rappel que "la droite la plus bête du monde" n’a pas disparu... En un clin d’œil, voilà ChristianeTaubira passée du statut d’accusée à celui de victime. Basculement très opportun dans son cas, vu la polémique autour de la ministre de la Justice, sur le thème de la "protectrice- des- délinquants- qui- ne- se- soucie- pas- des- victimes"...

»Mais l’intéressée sait aussi opérer elle-même ces retournements de situation rhétorique (sinon politique). Parce que souvent attaquée, cette escrimeuse hors pair est en effet une championne de l’esquive et de la contre-attaque. Les techniques défensives de la rhétorique n’ont aucun secret pour elle, quitte à dire tout et son contraire:passage du général au particulier ("il y a récidive et récidive: un défaut répété de permis de conduire n’est pas un viol répété"); du particulier au général ("les cas concrets sont contradictoires, prenons de la hauteur!"); de la forme au fond ("s’il vous plaît, c’est un débat sérieux!"); du fond à la forme (" ce sujet n’est pas abordé dans mon projet de loi"); voire de la forme à la forme ("un procès se fait dans un prétoire, pas à la télévision!"). Comme le furet du jeu enfantin, Christiane Taubira "est passée par ici, elle repassera par là"... Elle n’est jamais là où on l’attend. Puisqu’on veut en faire une cible, elle sera une cible mouvante! Et si cela ne suffit pas, elle recourra à l’interpellation et à la disqualification de l‘interlocuteur, y compris des journalistes ("Pourquoi êtes-vous si désagréable?"; "Votre question manque de rigueur"; "Ce n’est pas digne de vous" etc.).Sa marque de fabrique fondamentale est, comme dans un tour de magie, la substitution. Substitution de position, de sujet et de niveau: l’interviewée devient intervieweuse; la question de la réforme pénale se transforme en débat sur l’état des prisons; le débat sur le fond est éclipsé par l’attaque ad hominem.

»En d’autres termes, la rhétorique de Christiane Taubira est une série detours de passe-passe. Magie de sa rhétorique, si universellement admirée? Oui, au sens premier du mot: un illusionnisme de haute volée. Et qui, comme l’art du magicien, repose sur une technique centrale: détourner l’attention de l’auditoire de l’objet qui doit disparaître. Le foulard devient lapin, le lapin devient colombe et la colombe devient fumée. De même, c’est avec une véritable maestria que Christiane Taubira sait escamoter l’enjeu central du débat: une récidive gravissime pose-t-il le problème de l’application des peines et de la responsabilité des juges? Pour Christiane Taubira le "vrai problème" est ailleurs: la non préparation de la sortie (Ah! les "sorties sèches"); la surpopulation carcérale; la confusion pénale léguée par la droite, etc.

»Et si la question se fait trop pressante ou l’émotion trop forte, elle dégaine l’arme absolue: "devant la douleur des victimes, je fais silence". Voilà qu’au nom même de l’empathie, du pathos, l’argumentation rationnelle, le logos, est évacué et, avec lui, la question posée... Chapeau bas (de Harry Potter)!

»Mais son stratagème le plus efficace est d’une toute autre portée: il concerne le fond du débat à travers le tour de passe-passe logique. Plus "sophistiqué" de fait car bien proche du... sophisme! Le dispositif est simple et connu depuis Aristote: une prémisse majeure indiscutable comme "les prisons françaises sont surpeuplées et délabrées"; une conclusion qui semble logique: "donc il faut trouver un autre système de sanction ne passant pas par la prison (la contrainte pénale)". Pourtant une autre conclusion pourrait venir à l’esprit: "donc il faut construire d’urgence de nouvelles prisons et rénover les anciennes". Car, pour arriver à la conclusion de Christiane Taubira, une autre prémisse (appelée "mineure" dans le syllogisme) est indispensable, à savoir "la prison esten soi criminogène". Mais cette prémisse est cachée car inaudible par l’opinion publique qui persiste à penser que c’est le crime qui conduit à la prison et non la prison au crime...

»Or cette pratique bien connue en rhétorique de la prémisse cachée est au cœur de tous les raisonnements de la garde des sceaux: priorité au suivi et à la réinsertion? Cela suppose que des moyens considérables soient mobilisés et que tous les délinquants, en tout cas les plus dangereux, soient réinsérables; liberté d’appréciation laissé aux seuls juges? Cela suppose que les juges ne se trompent jamais, au moins pour les cas graves; amende préférable à la prison pour les petits délits? Cela suppose que les délinquants potentiels ne fassent aucun calcul du risque encouru avant de passer à l’acte. Autant de conditions bien fragiles que la magicienne Taubira escamote avec dextérité. Comme elle escamote deux faits majeurs qui sapent la base même de sa politique pénale: un taux d’incarcération inférieur en France à la moyenne européenne et une massive inexécution des peines prononcées par une justice prétendument "sévère". Ce qui renvoie de nouveau à la rénovation impérative de nos prisons scandaleuses...

»On mesure en tout cas l’expertise et la présence d’esprit nécessaires pour contrer un tel arsenal rhétorique. Combien d’hommes politiques et de journalistes s’y sont frottés sans préparation suffisante etl’ont appris à leurs dépens! Et si, tout simplement, ils dissipaient en les nommant ces tours de magie rhétorique? L’illusion ne résiste jamais à la révélation des "trucs"...»






noviembre 18, 2015

Specific Rules #1 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Abbreviation rules for editions



Abbreviate common words found in edition statements, if desired:


WordAbbreviation
editioned.
abbreviatedabbr.
abridgedabr.
AmericanAm.
augmentedaugm.
authorizedauthoriz.
EnglishEngl.
enlargedenl.
expandedexpand.
illustratedill.
modifiedmod.
originalorig.
reprint(ed)repr.
revised rev.
specialspec.
translationtransl.
translated

For additional abbreviations, see ISO 832:1994 - Rules for the abbreviation of bibliographic terms.



Follow abbreviated words with a period and end all edition information with a period.

3rd rev. ed.

1st Engl. ed.



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Abbreviation rules for editions

Specific Rules #2 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English words for editions

Specific Rules #3 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: First editions

Examples for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





«Michelle Obama premia 12 programas artísticos de jóvenes en comunidades pobres»



Univision Communications Inc.




«Michelle Obama condecorará a 12 programas extracurriculares de artes y humanidades por contribuir en la formación de jóvenes residentes en comunidades vulnerables.

»Además de OYE Honduras, acreedora de la mención internacional del National Arts and Humanities Youth Program Award por buscar desde el 2005 romper el ciclo de la pobreza en la nación centroamericana al desarrollar líderes juveniles mediante becas para estudiantes meritorios, varios de los programas premiados trabajan con comunidades latinas.

»Kitzia Rodríguez estudia actualmente segundo año de ingeniería de sonido en la Universidad de Utah gracias a su participación durante cuatro años en uno de los 15 programas sobre comunicaciones digitales que desde 1999 Sky Hop Productions ofrece a 2 mil jóvenes (30% latinos) de entre 7 y 20 años en Salt Lake City, Utah.

»La mexicana de 19 años, quien obtuvo en 2012 un permiso de trabajo gracias al programa que lanzó la Casa Blanca para proteger de la deportación a algunos inmigrantes traídos a Estados Unidos por sus padres sin autorización cuando eran niños (conocido como DACA por sus siglas en inglés), dijo que gracias a Sky Hop también comenzará el mes próximo a trabajar como ingeniero de sonido para eventos en vivo.

»La visita a la Casa Blanca es "simbólica porque las cosas están llegando para mí a nivel personal. Sky Hop es lo más importante en mi vida después de mi familia, y la Casa Blanca me dio con DACA la oportunidad de trabajar. Es un matrimonio", indicó Rodríguez, quien llegó a Estados Unidos a los tres años de edad.

»Valeria Cruz relató que su participación durante ocho años en CityDance DREAM Program, una compañía de baile que cada año enseña danza a 160 estudiantes (40% hispanos) entre tercer y 12 grado de seis escuelas públicas en la capital estadounidense, le ha permitido "aprender a ser líder en la clase de baile y fuera de ella, a comunicarme con gente mayor y menor que yo, a atender niños si necesitan ayuda y a servir de ejemplo a niños menores que yo".

»La hondureña de 18 años, quien reside desde los dos en la capital estadounidense y también es beneficiaria de DACA, cursa su último año de educación secundaria y actualmente busca una carrera universitaria que la ayude a ganarse la vida con la danza o con la comunicación social.

»Claudia Pavón asegura que de no contar con la beca de 60 dólares mensuales que le proporciona OYE Honduras no podría costear el viaje de 45 minutos ida y vuelta cada día en bus desde su hogar en El Progreso hasta la Universidad Autónoma de Honduras en San Pedro Sula, donde cursa ya el tercer año de Pedagogía.

»"Sin la beca hubiera tenido que trabajar a tiempo completo y ya me habría atrasado porque mis padres no pueden pagarme el transporte a la universidad. Es un monto que tal vez luce pequeño pero para mí marca la diferencia", agregó la hondureña de 20 años, quien dijo que está muy emocionada por su visita a la Casa Blanca porque espera que "pueda incentivar a seguir apoyando a los jóvenes para que cambien los países".

»La Comisión Presidencial para las Artes y Humanidades seleccionó a los 12 ganadores de entre 285 organizaciones nominadas en los 50 estados estadounidenses, por su aporte al mejoramiento de las destrezas de lectura, idioma y gramática, por desarrollar las habilidades artísticas y de comunicación, y por enriquecer el conocimiento cultural.

»La directora de la comisión, Rachel Goslins, dijo que "los niños y los jóvenes que se involucran en las artes y en las humanidades tienen una probabilidad mayor de permanecer en la escuela, obtener mejores calificaciones, graduarse de la escuela secundaria y asistir a la universidad".»






«La transformación digital centra la estrategia de calidad de las empresas en el futuro»



Servimedia




«Clausura del Día Mundial de la Calidad 2015, organizado por la Asociación Española para la Calidad (AEC)

»La transformación digital se ha convertido en una pieza clave para el desarrollo y liderazgo de la estrategia digital en el futuro. Esta es una de las principales conclusiones del Día Mundial de la Calidad 2015, organizado por la Asociación Española para la Calidad (AEC) y que clausuró este tarde su presidente, Miguel Udaondo.

»Bajo el lema 'La calidad que viene...', el objetivo de este encuentro fue analizar el papel que representa la calidad como factor clave en el desarrollo de estrategias empresariales que den respuesta a los retos que el nuevo paradigma económico plantea a las organizaciones.

»Durante su intervención, la consejera delegada de Siemens Posta, Parcel & Airport Logistics, Nerea Torres, señaló que la transformación digital "tiene que afectar a todos los niveles y segmentos del negocio". "Todos vamos a tener que hacernos digitales. Hay que cambiar la cultura y, en la transformación digital, hay que empezar por las personas", añadió.

»En este sentido, insistió en que "la digitalización es inevitable y la calidad no puede ser ajena a esta transformación digital". Asimismo, puntualizó que "la gran oportunidad que tiene la calidad es que tiene un conocimiento de la metodología y de la sistematización de las organizaciones", lo que hace más fácil este proceso de transformación.

»Por su parte, el director general adjunto de Tecnología y Operaciones Santander España de Banco Santander, Adolfo Ramírez, aseguró que "la calidad tiene que ir intrínseca a la transformación digital". Según dijo, esta digitalización empieza por el cliente, ya que "las organizaciones se transforman porque el cliente se transforma".

»LA CALIDAD DESPLIEGA LA ESTRATEGIA

»El director general de Contazara, Isaac Navarro; el director general de General Motors España, Antonio Cobo; el director general de Organización, Procesos, TIC y Digital de Quirón Salud, Adolfo Fernández-Valmayor, y el presidente de la Comunidad AEC Calidad, José Manuel Moreno, participaron en una mesa redonda en la que expusieron su visión sobre la calidad como herramienta principal para el despliegue de la estrategia empresarial.

»Todos ellos coincidieron al asegurar que la calidad es transversal a todos los procesos y ámbitos de la empresa. Asimismo, afirmaron que la experiencia de cliente será la que defina y marque la estrategia de calidad en el futuro, por lo que las empresas deberán adaptarse a sus necesidades.

»También tomaron parte en esta jornada el jefe de Proyectos de Innovación de Ibercaja, Víctor Royo; la Business Support & Performance Director Iberia & Latam de Transcom, Cristina Martínez; la Operational Excellence Manager at Strategy and Innovation de Orange, Patricia Acosta; el Quality, Sustainability & Customer Service de Loewe, José Luis Velasco, y el Managing Partner de ICA2, Jose Albert Berenguer.

»Cada uno de ellos presentó de forma individual su experiencia práctica en el fomento y desarrollo de la calidad como impulso del negocio, liderazgo de la experiencia de cliente, gestión de la innovación y transformación de las organizaciones.»






«A ver / haber»


De las preguntas más frecuentes planteadas por los
usuarios del servicio de consultas lingüísticas
de la Academia Española de la Lengua



«Aunque a ver y haber se pronuncian de la misma forma, deben distinguirse adecuadamente en la escritura.


»a) a ver

»Se trata de la secuencia constituida por la preposición a y el infinitivo verbal ver:

»Vete a ver qué nota te han puesto.

»Los llevaron a ver los monumentos de la ciudad.


»Como expresión fija, presenta distintos valores y usos:

»• En tono interrogativo, se emplea para solicitar al interlocutor que nos deje ver o comprobar algo:

»—Mira lo que he comprado. —¿A ver?


»• Expresa, en general, expectación o interés por saber algo, y va normalmente seguida de una interrogativa indirecta:

»A ver cuándo nos dan los resultados.


»• Se utiliza para llamar la atención del interlocutor antes de preguntarle, pedirle u ordenarle algo:

»A ver, ¿has hecho lo que te dije?

»A ver, trae el cuaderno.


»• Equivale a claro o naturalmente, como aceptación de algo que se considera inevitable:

»—Pero ¿al final os vais? —¡A ver! Si no lo hacemos, perdemos el dinero de la reserva.


»• Delante de una oración introducida por la conjunción si, expresa, bien expectación, curiosidad o interés, a veces en forma de reto; bien temor o sospecha; bien deseo o mandato:

»¡A ver si adivinas lo que estoy pensando!

»A ver si te caes.

»A ver si eres más organizado de ahora en adelante.


»En muchos de estos casos la secuencia a ver puede reemplazarse por veamos, lo que pone de manifiesto su relación con el verbo ver y no con el verbo haber:

»A ver con quién aparece mañana en la fiesta [= Veamos con quién aparece mañana en la fiesta].

»A ver si te atreves a decírselo a la cara [= Veamos si te atreves a decírselo a la cara].



»b) haber

»Puede ser un verbo o un sustantivo:

»• Como verbo, haber se usa como auxiliar, seguido de un participio, para formar los infinitivos compuestos de la conjugación:

»Haber venido antes.

»Tiene que haber sucedido algo.

»Sigo sin haber entendido lo que ha pasado.


»También se emplea como infinitivo del verbo impersonal que denota la presencia o existencia de lo designado por el sustantivo que lo acompaña:

»Parece haber un chico esperándote en la puerta.

»Tiene que haber muchas cosas en el frigorífico.


»• Como sustantivo, haber es masculino y significa, en general, ‘conjunto de bienes o caudales de una persona’:

»Su haber era más bien escaso.»






noviembre 17, 2015

General Rules for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style



Indicate the edition/version being cited after the title when a volume is published in more than one edition or version.

Abbreviate common words (see Abbreviation rules for editions below).

Capitalize only the first word of the edition statement, proper nouns, and proper adjectives.

Express numbers representing editions in arabic ordinals. For example: second becomes 2nd and III becomes 3rd.

End the edition statement with a period.


Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Abbreviation rules for editions

Specific Rules #2 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Non-English words for editions

Specific Rules #3 for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: First editions

Examples for Edition (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style





Typomad 2015: «Testimonios»



Typomad




«Typomad es la fiesta madrileña de la tipografía. Un evento anual en el que ponencias, exposiciones y talleres llenan la ciudad de Madrid.

»El nombre de esta edición será “Testimonios”, una edición donde romper ideas establecidas sobre el mundo de la tipografía. Trataremos las historias que hay detrás de los diseños para inspirar y comprometer a nuestros asistentes a cambiar su mirada sobre la tipografía. La tipografía es cultura, historia e identidad, innovaciones tecnológicas, experimentación con nuevos formatos y desarrollo de nuevos mercados y sociedades; en “Testimonios” ofreceremos las opiniones y experiencias de nuestros ponentes sobre todos estos temas.

»Es el único festival de tipografía en Madrid. Pese a ser la capital de España, la escena tipográfica madrileña aún está creciendo gracias a estas iniciativas. Typomad es clave para ofrecer al público la oportunidad de ver, escuchar y aprender de diseñadores, historiadores y profesionales de la tipografía. En resumen, entradas agotadas, más de 350 participantes, 21 ponentes y 150 asistentes a talleres. ¡Typomad es un evento que la ciudad pide a gritos!»






Discovering main concepts from core lexicon



Emily Patricia Dillow
«Narrative Discourse in Aphasia: Main Concept and Core Lexicon Analyses of the Cinderella Story»

Master's thesis. University of South Carolina - Columbia


Extracto de los apartados iniciales del capítulo 4 de la tesis en PDF. Véase la bibliografía del trabajo en el citado PDF.




«Aim 1: Investigating Core Lexicon

»MacWhinney et al. (2010) suggested core lexicon analysis during narration may provide a time-efficient and informative indication of functional communication. For example, clinicians would not need to perform lengthy transcription, but instead could generate a list of words spoken during narration for later comparison to a core lexicon.

»What is needed is a core lexicon derived from a large sample of controls, ensuring that the lexicon reflects typical discourse abilities. After analyzing transcripts of 158 adults with typical language and utilizing a more stringent criterion of 50% incidence, the resultant core lexicon reflects what is essential to successful Cinderella narration.

»This core lexicon list can be utilized by clinicians in the previously described manner as a tool for narrative discourse assessment.

»Comparison of the core lexicon production of controls and PWAs indicated markedly greater production by controls. While this result was expected, establishing this difference was a necessary initial step in core lexicon analysis. Results of the three median tests comparing core lexicon, verb, and noun productions of the four subtypes suggest that distinctions in core verb and noun production are evident between aphasia subtypes. This information may have important implications for the validity of core lexicon analysis, as it suggests that this measure may be sensitive to differences between aphasia subtypes. When specifically comparing pairs of subtypes based on entire core lexicon production, Broca’s was the only subtype that could be differentiated from others.

»This suggests that core lexicon analysis may not be sensitive enough to differences between the other subtypes.

»The same findings do not hold true when looking specifically at individual lexical class productions. While just looking at core verbs would be sufficient for differentiating Broca’s from anomic and Wernicke’s subtypes, this information would not be adequate for differentiating Broca’s from conduction. Based on findings from this study, analysis of core verb and noun productions would be necessary in order to make the distinction between Broca’s and conduction. Another interesting finding regarding core verb comparisons was that anomic and conduction subtypes were differentiated on this measure, even though this was not the case based on entire lexicon comparisons.

»Meanwhile, core noun analysis could sufficiently make distinctions between all pairs, except anomic and conduction and Broca’s and Wernicke’s subtypes. After comparing groups based on the entire core lexicon and individual classes, it is clear that the different measures result in varying degrees of discrimination between different pairs of aphasia subtypes.



»Aim 2: Investigating Main Concepts

»Standardized main concept lists for discourse tasks could allow clinicians to efficiently assess discourse skills and predict activity and participation limitations.

»The generated main concept list could potentially serve as a clinically useful checklist for narrative assessment of individuals with aphasia when the Cinderella narrative is elicited according to AphasiaBank conventions. Similarly to the procedure with core lexicon analysis, an important initial step in the exploration of main concept analysis was to ensure its ability to highlight a clear difference between discourse skill of PWAs and controls. The strong effect sizes of all tests comparing the different subtypes of aphasia to controls based on main concept scores indicate that we can be confident in this measures’ ability to detect language impairment.

»The median test comparing the four subtypes’ main concept scores suggested that the measure was also able to distinguish subtypes within subjects with aphasia. However, further median tests comparing each set of pairs indicated that anomic aphasia was the only subtype significantly different from any of the others with regard to main concept scores. Main concept scores of Broca’s, conduction, and Wernicke’s subtypes were too similar to suggest any difference between these three subtypes.

»It is interesting to note that while the median main concept score of 25 for the anomic group was significantly higher than that of the Broca’s and conduction subtypes, it was still significantly lower than the median score of 63, obtained by controls. While anomic aphasia is primarily characterized as a word-finding disorder, Andreetta, Cantagallo, and Marini (2012) suggested that narrative coherence can also be impacted in this population. Deficits in discourse skills may be so minor with this population that they are not apparent on many standardized assessment measures, but it should not be assumed that they do not exist and do not affect functional communication abilities.

»The notable gap apparent between main concept scores of controls and subjects with anomic aphasia makes main concept analysis a promising tool for detecting discourse weaknesses in anomic aphasia.



»Aim 3: Relationship Between Core Lexicon and Main Concepts

»The relationship between core lexicon production and main concept scores was investigated to determine whether the quick core lexicon analysis correlated strongly with the more thorough (but time-intensive) analysis of narrative discourse. Main concept analysis is a narrative measure which has been supported by previous studies as being a reliable and informative method of assessing adequacy of communication (Nicholas & Brookshire, 1995; Kong, 2009). Our results suggest core lexicon production is strongly related to main concept scores for all groups (controls and all subtypes of aphasia), which makes it a promising method of assessment. This finding lends support to the idea that core lexicon analysis may be a comparable and time-efficient method of characterizing discourse abilities and, potentially, charting treatment outcomes.

»Tests of whether core verbs or core nouns alone correlated with main concept scores of each group indicated that individual lexical classes due, indeed, correlate significantly with main concept productions, except in one particular case. For the Wernicke’s group, core verb productions did not correlate significantly with main concept scores. Meanwhile, the number of core nouns produced showed a stronger correlation to main concept scores than did total core lexicon production (Table 3.9).

»These results indicate a notable gap between the noun and verb usage of individual’s with Wernicke’s aphasia (e.g. “and the two girls, they go to this meeting,” contains 1 core verb “go,” but the participants fails to get credit for “stepsisters” or “ball” because of nonspecific noun usage.). This information is useful and suggests that if a clinician were to use the core verb production of a patient with Wernicke’s aphasia to estimate their likely main concept score, the clinician could be overestimating the patient’s actual abilities in the area of main concept production. In fact, core noun analysis specifically would be more appropriate than core lexicon analysis for individuals with Wernicke’s aphasia, based on results of correlational tests in this study.

»For all other groups, the best method of predicting main concept score would be core lexicon analysis, including both verbs and nouns. The only other subtype exhibiting a noticeable difference between correlations obtained with core verbs versus core nouns was the conduction group.

»Unlike the Wernicke’s group, which seemed to show a greater deficit with nouns, the conduction group seemed to show a greater deficit with verbs. However, this tendency was not strong enough to prevent the combined measurement of verb and noun production from being the stronger measurement of discourse skill, based on correlations to main concept scores. »






noviembre 13, 2015

Specific Rules #2 for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Titles not in English



If a translation of a title is provided, place the translation in square brackets after the original language or romanized title.

Abdomen: higado, bazo, vias biliares, pancreas y peritoneo [Abdomen: liver, spleen, bile ducts, pancreas and peritoneum].


If a book title is in a microform (microfiche, microfile, microcard, etc.), place the specific name of the microform in square brackets following the translation.

Etude et traitment de la meningite tuberculeuse [Study and treatment of meningeal tuberculosis] [microfilm].



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Titles ending in punctuation other than a period

Specific Rules #2 for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Titles not in English






«Kjeldahl Optimizer, la aplicacion móvil científica de Buchi»



Food News Latam®




«El Kjeldahl Optimizer le ayuda con los ajustes correctos del experimento Kjeldahl. Le muestra cómo ahorrar tiempo, sustancias químicas y dinero. Muestra información relacionada con qué contenido de proteínas era de esperar, factor de proteínas, volumen de la muestra, el contenido de grasa y agua. Consejos útiles, gráficos y tablas que ayudan a optimizar los parámetros del proceso con el fin de ahorrar tiempo y químicos. La mayoría de los parámetros están directamente referidos a las descripciones detalladas en la guía de Kjeldahl Optimizer.

»Los parámetros del proceso optimizado se calculan sobre la base de los siguientes datos de entrada: Productos químicos (la concentración de ácido bórico, el tipo de catalizador, normalidad valorante), Opciones Instrumento (tamaño del tubo, tipo de destilación).

»La calculadora emite los parámetros de: digestión (número de comprimidos Kjeldahl, o peso en polvo, y el volumen de ácido sulfúrico), de destilación (volumen de NaOH, agua y ácido bórico), y parámetros de valoración (el consumo titrante de espacios en blanco y muestra, cantidad calculada de nitrógeno o proteína por muestra).

»Los parámetros calculados directamente se pueden enviar a los equipos de soporte de aplicaciones. Los especialistas están dispuestos a apoyarle en preguntas específicas. Una lista de más de 100 notas de aplicación se ejecuta también de la aplicación con el fin de proporcionar referencias de la vida real.

»Descargue el Optimizador de Kjeldahl de iTunes, GooglePlay, WindowsPhone, para Windows PC de escritorio.

»Durante 75 años, BUCHI ha sido proveedor líder de soluciones en tecnología de laboratorio para I+D, control de calidad y producción a nivel mundial. Sirve a una amplia gama de industrias como la farmacéutica, la química, de alimentación y bebidas, de piensos, de análisis medioambiental y del sector académico. Las soluciones de evaporación de laboratorio, industrial y paralela, secado por pulverización, punto de fusión, cromatografía preparativa, extracción, destilación y digestión, dumas y espectroscopia de infrarrojo cercano satisfacen las necesidades más exigentes de los clientes de todo el mundo.»






«¿Por qué nos hacen gracia los chistes? El estudio pragmático del humor verbal»




«A cargo de Manuel Leonetti, de la Universidad de Alcalá de Henares. Actividad organizada por Zaragoza Lingüística. El humor verbal es un fenómeno universal que ha sido objeto de reflexión filosófica y antropológica desde la antigüedad. Hoy disponemos de herramientas teóricas que nos permiten entender relativamente bien cómo funciona y cuál es su naturaleza. Además de ciertas nociones generales sobre el humor, como la idea de que consiste básicamente en el goce de la incongruencia, lo que necesitamos para su estudio es, fundamentalmente, una hipótesis sobre las estrategias de comprensión de los enunciados que los hablantes ponen en práctica en la comunicación verbal, y muy en especial una hipótesis sobre cómo manejamos los aspectos implícitos de la comunicación. Las recientes teorías pragmáticas nos ofrecen esas hipótesis, y con ellas un instrumento para analizar cómo los humoristas explotan la capacidad humana de seleccionar las interpretaciones más relevantes o salientes en el contexto y desechar otras, con el fin de manipular las expectativas de los oyentes y obtener efectos humorísticos. El objetivo de esta charla será mostrar el funcionamiento de las inferencias pragmáticas en el procesamiento del humor verbal, a partir de ejemplos en español.» (Filosofía y Letras Zaragoza)






noviembre 12, 2015

Specific Rules #1 for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Titles ending in punctuation other than a period



Most titles of volumes end in a period. Place [microfiche], [microfilm], or [microcard] inside the period.

Oral pathology [microfiche].


If a title ends in another form of punctuation, keep that punctuation and follow [microfiche], [microfilm], or [microcard] with a period.

What shall I eat? [microfilm].



Según:

Citing Medicine: The NLM Style Guide for Authors, Editors, and Publishers [Internet]. 2nd edition. Chapter 2: Books


Related:

General Rules for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style

Specific Rules #1 for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Titles ending in punctuation other than a period

Specific Rules #2 for Type of Medium (required) for the Volume for Individual Volumes With a Separate Title and Separate Authors/Editors Vancouver Style: Titles not in English






«Talento y economía creativa»



José Manuel Gómez Bravo
El País




«España tiene una oportunidad única de tener voz propia y liderar un mercado digital de contenidos en el ámbito global, siempre que apueste por la suma del talento, la educación y la creatividad Una oportunidad de ejercer el liderazgo internacional a través de una de nuestras señas de identidad, la creación original, y situarse a la vanguardia de las industrias creativas, del conocimiento y de la comunicación (ICC).

»Vivimos en un ecosistema conformado, entre otros, por un gran universo digital e interactivo. En este cosmos son necesarias políticas públicas digitales que conjuguen tres pilares: humanismo, talento y tecnología.

»Todas las fuerzas políticas tienen que poner el primer cimiento de un Pacto de Estado para la creación de un “Plan Nacional para el desarrollo del Mercado Digital de Contenidos”al que denominaré “Plan Nacional 2030” cuya piedra angular será la construcción y desarrollo de la Agenda de Política Pública Digital de las ICC.

»Las políticas públicas destinadas a las ICC repercutirán en el patrimonio y en el bien común de nuestro país. Deben ser planteadas bajo una mirada participativa y colectiva y ser declaradas de alto valor estratégico por el Gobierno.

»La Agenda debe diseñarse para que su alcance, evolución y evaluación llegue a las próximas generaciones y sin cortoplacismos. Será en la Educación donde se deban activar y promover las ayudas para la formación del talento creativo. Una Educación que sea referencia para la ciudadanía “nativa digital” y para el aprendizaje digital de generaciones anteriores, donde la portabilidad, la inmediatez y el acceso a millones de obras y fuentes de concomimiento son el nuevo alfabeto. La implantación de esta política debe realizarse desde las escuelas e institutos con programas específicos para la formación del “talento creativo”, desde la igualdad de oportunidades, la conexión emocional y la no discriminación social.

»El “Plan 2030” que propongo debe articularse inicialmente en torno a las siguientes propuestas:

»1) Creación de un Consejo Nacional para el desarrollo de las ICC.

»2) Defender la remuneración justa del sector creativo e investigador, y el fortalecimiento de sus derechos (comer para crear, comer para investigar).

»3) Defensa del principio de neutralidad tecnológica en relación a la distribución de contenidos digitales para que el ciudadano tenga igualdad de oportunidades de acceso.

»4) Creación de un Agregador Público de contenidos para la divulgación de las obras y creaciones del dominio público español.

»5) Plataforma “online” con carácter nacional y autonómico para la distribución y promoción de las obras y producciones de nueva creación.

»6) Presencia activa del Gobierno en los nuevos desafíos regulatorios internacionales relativos a la transformación digital.

»7) Defensa internacional de la propiedad intelectual e industrial mediante una política pública de impulso nacional e internacional, tanto de los derechos intelectuales como de nuestras marcas y patentes.

»8) Impulso de la lengua española como bien educativo, económico y cultural tangible internacional.

»9) Incentivos fiscales, préstamos “ad hoc” para la creación y producción digital para los creadores, editores, empresarios, investigadores, productores etc. de las ICC. Disminución del IVA cultural tanto en los servicios analógicos como digitales.

»10) Creación de un canal digital público para el impulso del flamenco, Patrimonio de la Humanidad, y su divulgación nacional e internacional.

»11) Creación del “Instituto de las Industrias Creativas, del Conocimiento y la Comunicación Digital”.

»12) Creación del “Instituto Digital del Pop”, como lugar de referencia de las artes y del “talento creativo”.

»El desafío del Plan 2030 para el Desarrollo del Mercado Digital de Contenidos será conjugar las oportunidades de crecimiento y de empleo de las ICC en el ecosistema digital. Para ello hay que establecer políticas de convergencia de los sectores tradicionales con los nuevos agentes de la creación. Hemos de pensar en términos de una economía creativa que promueva el desarrollo y el progreso social, laboral, tecnológico y cultural.

»En paralelo, para potenciar la fortaleza interior y exterior de las ICC hay que actuar, por una parte, en el Mercado Único Digital Europeo de contenidos. Y por otra, impulsar el Mercado digital de obras, derechos y contenidos del español y convertirnos en país de referencia, creación y acogida del talento, la investigación y la digitalización de contenidos en Iberoamérica.

»Es el momento de ganar el mañana, de tutear a la Historia desde nuestra intrahistoria y no tener que hablar en el futuro, como decía Antonio Machado, “…de aquella España que pasó y no ha sido”.»