Mostrando entradas con la etiqueta producción PL6 020. Mostrar todas las entradas
Mostrando entradas con la etiqueta producción PL6 020. Mostrar todas las entradas

diciembre 31, 2015

«Libraries: innovative spaces to dream, think, and create | Chad Mairn»




«Libraries: innovative spaces to dream, think, and create | Chad Mairn | TEDxTampaRiverwalk

»"Libraries", says Chad, ” are more than a storage house for books; they are friendly places for discovery where creativity and learning is nurtured! Do it yourself (DIY) culture has permeated into libraries giving patrons of all ages a chance to dream, think, and create interesting things...”

»Chad Mairn is a librarian, teacher, author, and self-described geek who frequently shares his enthusiasm for ‘all-things technology’ as a speaker at library and technology conferences. He is an Information Services Librarian, adjunct professor, and also manages the Innovation Lab at St. Petersburg College.Chad also plays drums in Fowler’s Bluff, a local rock band with their own craft beer with the same name, because librarians are Rock Stars!

»This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx» (TEDx Talks - TEDxTampaRiverwalk)






diciembre 24, 2015

«Contenidos digitales»





«La industria de contenidos digitales se encuentra en el espacio de convergencia de la producción Creativa y las Tecnologías de la Información y las Comunicaciones (TIC).

»De acuerdo con la Unesco "el término industria cultural se refiere a aquellas industrias que combinan la creación, la producción y la comercialización de contenidos creativos que sean intangibles y de naturaleza cultural.» (Ministerio TIC Colombia)






diciembre 17, 2015

«Production 8 - L'homme numérique 1»





«L'homme numérique est né de la contemplation d'un mur d'écrans au Palais de Tokyo à Paris. Le réel devient virtuel, les écrans submergent nos vies, ils nous fascinent, le numérique est notre avenir, pourrions-nous exister aujourd'hui sans lui? Plusieurs tableaux dans cette vidéo, musique planante (3 semaines de travail), la scène finale comprend 6 vidéos simultanées et 4 animations d'image.» (JBS Electro Thématique)






diciembre 10, 2015

«Presse numérique Canon imagePRESS C10000VP»





Canon lance une nouvelle gamme de presse numérique de haute production, à savoir l’imagePRESS C10000VP. Cette nouvelle gamme de presses numériques couleur de production se déclinera en deux modèles de 80 et 100 pages par minute, l’imagePRESS C8000 et l’imagePRESS C10000.

»Cette presse s’adresse aux ateliers de production Arts Graphiques ou des ateliers internes d’entreprise, avec des volumes pouvant s’élever jusqu’à 1 000 000 de pages par mois.

»Pour en savoir plus : http://bit.ly/1JVcGPr» (Canon France B2B)






diciembre 09, 2015

Entrevista a Eugenio Coseriu







«Ciclo "El intelectual y su memoria": Eugenio Coseriu.

»Publicado el 25 jun. 2015.

»MªÁngeles Pastor entrevista a Eugenio Coseriu (Universidad de Granada, Facultad de Filosofía y Letras, 1993).» (UGR. FFL)






«Publishing: Evolution, Disruption & the Future»







«Publishing: Evolution, Disruption & the Future - Session 3. Edinburgh - 12th June 2013.

»"Can Blogs, Apps and Newspapers Co-exist in Harmony?"

»Bill Jamieson, Scot-buzz & The Scotsman - "Media: Digital or Death?"

»Alex Porter, Scottish Times - "Digital News: Trust and Profit. Opportunities & challenges for digital news outlets in a time of collapsing trust & revenues in traditional media"

»Brendan Miles, The List - "Digital Evolution - A List Survival Guide: One traditional publishers journey from print to digital and beyond".

»To see the full programme & more information about this event see: http://www.edinpubconf.net/program.html» (Graham Steel )






diciembre 08, 2015

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



On rare occasions an organization will be listed as the editor.

Follow the instructions for entering Organizations as author/editor.

Place a comma, space, and the word editor after the organization name.

Example:

Swiss Pharmaceutical Society, 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 tipografía Woody Allen»



Daniel de Partearroyo. Cinemanía. El País




«Más reconocible que sus titubeos, las calles de Manhattan o los chistes sobre el miedo a la muerte, esta es la tipografía que acompaña a Woody Allen desde Annie Hall.

»Te da la bienvenida a cada nueva película de Woody Allen. Se llama Windsor, nació en 1905 –¡feliz 110 cumpleaños!– de la mano de Eleisha Pechey y es la tipografía de las secuencias de créditos más sobrias y a la vez reconocibles de la historia del cine. Letras blancas sobre fondo negro, siempre centradas en pantalla.

»Una tarjeta de presentación cálida y acogedora como la vuelta al hogar y tan distintiva como los titubeos del director. Allen comenzó a usar la Windsor Light Condensed en los créditos de Annie Hall en 1977 y, enamorado de su serifa redondeada (distinguida pero amable), no la ha abandonado desde entonces, salvo por un temprano escarceo New Gothic en Interiores (1978).

»No se ha vuelto a repetir; Manhattan (1979), que no tiene créditos iniciales, recuperó a Windsor en los finales. Y hasta ahora. Según cuenta el tipógrafo Ed Benguiat, él desayunaba en la misma cafetería que Allen a finales de los 70. El cómico Corbett Monica los presentó y, al conocer su profesión, Allen le preguntó por una tipografía de su agrado. Benguiat, que sentía afinidad por la Windsor, indicó su nombre de forma distraída. Y marcó una filmografía entera.»






«Ming Ming Chiu - Statistical Discourse Analysis»





«Read the paper associated with this presentation:

http://kredible.net/in/statistical-discourse-analysis-a-methodology-for-identifying-group-dynamics/

[Statistical Discourse Analysis – A methodology for identifying group dynamics]» (Sorin Adam Matei)






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





«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)