Podcasts about zeugma

Every date followed the same pattern. After the dinner and drinks, and the long moonlit walk along the canal, Jules would casually remark that the hangar was not far from here, and would they like to come see? | © 2024 by Sagan Yee. Narrated by Stefan Rudnicki. Learn more about your ad choices. Visit megaphone.fm/adchoices

Story: Zeugma Author: Donna Rating: Teen and Up Site link: http://www.donnas-stories.com/zeugma.html Read by: kristinsauter Summary: Grotesque Used by the author's permission. The characters in these works are not the property of the Audio Fanfic Podcast or the author and are not being posted for profit.

Sleva platí jen v případě letu do nebo z České republiky. Zní vám to zvláštně? Jak při tvorbě vět pracovat s předložkami? Jsou dvě předložky vedle sebe vhodné? Na tuto jazykovou otázku nám odpoví bohemista.Všechny díly podcastu Okolo češtiny můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Bölümün Youtube videosu; https://youtu.be/lhfbpFWoLmk Destek vermek isterseniz; Youtube linki: www.youtube.com/@yasinacarpodcast Instagram linki: www.instagram.com/yasinacar50 Patreon Hesabım: www.patreon.com/yasinacar/membership

Praktická škola naší mateřštiny s humorem a nadhledem. Každou neděli jedna poučka, kterou jste už možná zapomněli. Připravili Michal Jagelka a Alex Röhrich.Všechny díly podcastu O češtině od A do Z můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Praktická škola naší mateřštiny s humorem a nadhledem. Každou neděli jedna poučka, kterou jste už možná zapomněli. Připravili Michal Jagelka a Alex Röhrich.

Do you know what the word Zeugma means? Be sure to listen to the entire episode and find out. --- Send in a voice message: https://podcasters.spotify.com/pod/show/cookingwithpositivity/message

Acompañanos EN VIVO todos los miércoles a las 19 hs por Yt

En esta segunda temporada, te explicamos cómo son las cosas ahora

#TodoFebrero

Se transmitió en vivo el 8 feb 2023 En vivo todos los miércoles de febrero por nuestro canal de youtube https://www.youtube.com/channel/UCKn6SP30yeqlBKjpogiBbZA

Bu bölümde Milliyet Arkeoloji'nin 19. sayısında yayımlanan yazımı okuyorum. Metin burada.

Zeugma is a noun that refers to a figure of speech in which a word applies to two others in different senses. The Greek word zugon (ZOO gone) means ‘to yoke.' Our word of the day refers to a situation where two different meanings are yoked into one. Example: When I said, ‘Corey opened his door and his mind to the strangers who entered his home,' my son didn't understand that I was using a zeugma. But I suppose at his age, he doesn't yet grasp the idea of a figure of speech.

“Rozważna i romantyczna” to książka, którą Jane Austen pisała przez całe lata. Każdy napisany rozdział był czytany członkom rodziny, którzy się wypowiadali na temat historii, postaci itd. Tak więc Jane zawsze miała informację zwrotną od czytelników bądź słuchaczy. Jej starsza siostra Cassandra napisała po śmierci Jane, że początkowo “Rozważna i romantyczna” była powieścią epistolarną. Jak pewnie wiecie jest to historia dwóch sióstr Eleonory i Marianny Dashwood. W filmie z 1995 roku rozważną Eleonorę zagrała Emma Thompson, a romantyczną Mariannę Kate Winslet. Hugh Grant zagrał jako Edward Ferrars, a Alan Rickman jako pułkownik Brandon. Wracając jednak do pierwszej wersji tej powieści - była ona napisana w formie listów. Co to znaczy?W powieści, którą my możemy czytać Eleonora i Marianna są zawsze razem. W tej pierwszej wersji powieści miały przebywać z dala od siebie i pisać do siebie listy. Dzisiaj patrzymy na powieści epistolarne z pewnym zdziwieniem. Pamiętajmy jednak, że kiedyś tak się ludzie dowiadywali co się np. dzieje u ich krewnych. Zajmowały się tym głównie kobiety. Pisały do siebie wymieniając się opisem wydarzeń, które miały miejsce w ich domu i okolicy. Tak więc krewny przebywający gdzieś daleko dowiadywał się jakby w odcinkach, bo w kolejnych listach o losach znanych mu ludzi. Ta wersja powieści jednak nie istnieje. Jane napisała ją prawdopodobnie w 1795, a potem zmieniła na wersję, którą my znamy, bo powieści epistolarne wyszły z mody już wtedy.“Stary pan Dashwood umarł: odczytano jego testament, który, jak niemal każdy testament, przyniósł tyle samo rozczarowania, co radości”.Historia rozpoczyna się w tym momencie gdy umiera stary pan Dashwood. Jego dziedzicem został bratanek Henry Dashwood, który miał syna Johna z pierwszego małżeństwa oraz trzy córki z drugiego małżeństwa: Eleonorę, Mariannę oraz Małgorzatę. Niestety Henry Dashwood sam zmarł już rok po swoim stryju. Nie zdążył nic odłożyć dla żony i trzech córek. Majątek odziedziczył jego syn z pierwszego małżeństwa czyli John Dashwood, który pod wpływem żony nie wsparł swojej macochy oraz swoich sióstr w zasadzie w żaden sposób. Dom przeszedł na własność Johna i Fanny. Pani Dashwood, druga żona Henry'ego stała się gościem we własnym domu.Przyjazd Fanny spowodował jednak, że pojawił się tam także jej brat, czyli Edward Ferrars. W filmie z 1995 grał go Hugh Grant. Fanny nie jest jednak zadowolona z tego, że jej brat być może zwiąże się z ubogą krewną ze strony męża. Chodzi o najstarszą z trzech sióstr - Eleonorę Dashwood. Jak ona podchodziła do tego opisała swoje uczucia?“- Nie próbuję przeczyć - powiedziała - że mam o nim wysokie mniemanie... że go ogromnie cenię, że go lubię...Tu Marianna wybuchnęła oburzeniem.- Cenisz go! Lubisz go! Och, ty dziewczyno bez serca! Ty się tego serca wstydzisz! Jeśli jeszczeraz użyjesz podobnych słów, natychmiast wyjdę z pokoju.Eleonora musiała się roześmiać.- Wybacz - powiedziała - i uwierz, że nie chciałam cię urazić, mówiąc o moich uczuciach w sposób tak powściągliwy. Przyjmij, że są silniejsze, niż powiedziałam. Krótko mówiąc, przyjmij, że są takie, jakie można rozważnie i rzetelnie uzasadnić, znając jego zalety i przypuszczając... licząc na jego dla mnie afekt. Ale niczego więcej nie wolno ci zakładać. Nie otrzymałam żadnych zapewnień o jego uczuciu. Są chwile, kiedy w nie wątpię”.Podczas rozmowy Eleonory z Marianną mamy ten tytułowy konflikt rozwagi z romantycznością. Przewija się on przez całą powieść. Eleonora także jest pełna uczuć, ale umie je ukrywać, bo tak wychowywano wtedy panny. Marianna jest buntowniczką. Był to okres romantyzmu. Buntowano się nie tylko przeciwko ukrywaniu uczuć, ale także przeciwko aranżowaniu małżeństw. Eleonora jest bierna i mimo, że kocha Edwarda stara się nie rozbudzać tych uczuć, a wręcz przeciwnie. Ona biernie czeka na to co on zrobi. Co myśli jej matka i siostra?“Wiedziała, że u Marianny i matki od przypuszczeń do pewności jest jeden krok, że pragnąć - to dla nich znaczy tyle, co mieć nadzieję, a nadzieja równa się oczekiwaniu”. Marianna wdała się w matkę. Obie były romantyczne. Matka zauważyła skłonność Eleonory i Edwarda i to doprowadziło ją do pewności, że dojdzie do małżeństwa. Zastanawiałem się czy na tym polega romantyczność? Czy bycie romantycznym oznacza, że coś sobie wyobrażamy, a potem oczekujemy, że tak się stanie? Czy na tym to polega? Napiszcie mi w komentarzach co sądzicie na ten temat.W tej powieści jest sporo humoru. Ale nie należy oczekiwać dowcipów, ale taki bardziej wyszukany humor oparty np. na obserwacji ludzi.“Rozmowa jednak toczyła się wartko, gdyż sir John był bardzo rozmowny, a lady Middleton zabrała z sobą przezornie najstarsze dziecko, ładnego sześcioletniego chłopczyka; zawsze można się było uciec do niego w potrzebie, zapytać o imię i wiek, zachwycać się jego urodą i zadawać mu pytania, na które odpowiadała za niego matka, gdy on, uczepiony jej sukni, stał ze spuszczoną główką, ku ogromnemu zdziwieniu lady Middleton, która nie mogła pojąć, jak też może być taki nieśmiały w towarzystwie, kiedy w domu robi tyle hałasu. Podczas każdej oficjalnej wizyty powinno być obecne dziecko jako zapasowy temat rozmowy”.Ten cytat to w zasadzie krytyka ludzi, którzy nie potrafią prowadzić rozmowy i potrzebują zastępczego tematu w formie dziecka, o którym rodzice zawsze chętnie rozmawiają.Inny przykład humoru w tej powieści to zeugma czyli połączenie słów lub zwrotów niepasujących do siebie. Przykład zeugmy znajdziemy pod koniec książki.“Właściwie nie mieli już o czym marzyć, z wyjątkiem małżeństwa pułkownika z Marianną i może nieco lepszego pastwiska dla swoich krów”.W tym zdaniu połączono dwa marzenia: małżeństwo pułkownika z Marianną oraz chęć posiadania lepszego pastwiska. Dowcipne jest to, że pierwsze marzenie jest dość romantyczne, drugie dość przyziemne. Ale dowcip nie kończy się tutaj. Takie połączenie wskazuje, że małżeństwo pułkownika i Marianny może sprawić, że Eleonora i Edward dostaną lepsze pastwisko dla swoich krów. To zdanie zdaje się sugerować, że chcą tego małżeństwa także z dość przyziemnych powodów.Oczywiście Jane Austen porusza w swojej powieści także bardzo poważne tematy. Po pierwsze ten tytułowy: czy lepiej być rozważnym czy romantycznym? Odpowiedź nie jest taka prosta jakby może się komuś wydawało. Autorka przedstawia sytuację kobiet, które bardzo łatwo mogą stracić reputację. Przykładem jest tutaj Eliza i Marianna. Dlaczego mężczyzna mógł się wtedy wdać w związek pozamałżeński i mimo tego być szanowanym, przyjmowanym i dobrze się ożenić podczas gdy kobieta traciła wszystko: szacunek społeczeństwa oraz widoki na małżeństwo. Jest to o tyle ciekawe pytanie, że jeszcze dzisiaj się debatuje na temat tego, czy dziewczyna uwiedziona przez mężczyznę jest sama sobie winna gdy zajdzie w ciążę.Głównymi postaciami powieści są oczywiście Eleonora i Marianna. Przedstawiają one swój pogląd na różne sprawy. Np. tego czy należy oceniać innych, a także czy należy ich oceniać szybko. Marianna jest bardzo oczytana i z góry patrzy na tych, którzy znają mniej literatury. Przypomina mi to, co niedawno powiedziała Olga Tokarczuk, że jej powieści nie są dla każdego. Gdyby Marianna żyła w naszych czasach pewnie czytałaby Tokarczuk i czuła się z tego powodu lepsza od tych innych. Eleonora jest inna. Nie ocenia innych szybko i widzi nie tylko wady, ale także zalety. Ale ta powieść porusza też temat wybaczania, szacunku wobec winnych, dawania rad itd. Ja zajmowałem głównie stronę rozsądnej Eleonory, ale były takie momenty, kiedy nie mogłem zrozumieć jej postępowania. Np. ja zdecydowanie potępiam postępowanie Johna Willoughby'iego, Eleonora chciała je zrozumieć. Tutaj się z nią nie zgadzam, ale to chyba jedyna taka rzecz.Na koniec przestroga dla tych, którzy nie czytali książki, a oglądali film. To książka napisana około 1795, a wydana w 1811 roku. Upłynęło ponad 200 lat. Dzisiaj książki pisze się zupełnie inaczej. Np. podstawową radę, którą dzisiaj słyszy początkujący literat to: “Pisarzu! Pokaż, nie opisuj!” Jane Austen się do tego nie stosowała. Z tego powodu w wielu miejscach zamiast przedstawić sytuację w formie opisu sceny czy dialogu ona po prostu pisze co się wydarzyło tak jakby ktoś relacjonował zdarzenia. Od czytelnika wymaga to większej wyobraźni. Współcześni pisarze robią całą pracę za nas. Opisują piękną scenę, dialogi itd. Austen też to czasami robi. Jednak w wielu miejscach po prostu relacjonuje co się stało i wtedy musimy sobie wyobrazić jak to się odbyło.Ja osobiście polecam wam tą książkę. Najlepiej w tłumaczeniu Anny Przedpełskiej-Trzeciakowskiej. Jej tłumaczenie wydał Świat Książki, a seria to Angielski ogród. Książki mają piękne okładki z kwiatami. A dlaczego warto przeczytać tą książkę? Poza samą historią mamy tutaj ciekawe postacie: rozważną Eleonorę Dashwood, romantyczną Mariannę, nieśmiałego Edwarda Ferrars, bezczelną Lucy Steele i wiele innych ciekawych postaci. Historia jest dużo głębsza niż ta pokazana w filmach. Pamiętajcie jednak, że nie warto się spieszyć, ale czytać rozkoszując się style Jane Austen i tłumaczeniem pani Anny Przedpełskiej-Trzeciakowskiej. Zachęcam do przeczytania.

There are some invisible structures in language, and using them can be the difference between your message being forgotten or living through the ages. These are The Elements of Eloquence, which is the title of Mark Forsyth's book. I first picked this up a couple years ago, and have read it several times since then. I think it's one of the best writing books, and has dramatically improved my writing. Here is my summary of The Elements of Eloquence: Secrets of the Perfect Turn of Phrase. How powerful could this stuff be? Can hidden patterns in language really be the difference between being remembered and forgotten? The technical term for the study of these patterns is “rhetoric,” and yes, it can make a big difference. Misremembered phrases While it's hard to find data on what has been forgotten – see 99.9% of everything ever said or written – there are examples of things that have been misremembered. You've heard the expression, “blood, sweat, and tears.” That comes from a Winston Churchill speech. He actually said he had “nothing to offer but blood, toil, tears, and sweat.” Remember when, in The Wizard of Oz, the Wicked Witch of the West said, “Fly, my pretties, fly!”? Well, it never happened. She actually merely exclaimed “Fly!” four times in a row. The line remembered as “Hell hath no fury like a woman scorned”, was actually "Heav'n has no rage, like love to hatred turned, Nor hell a fury, like a woman scorned." I'll get into some theories about why these phrases were misremembered in a bit. Non-sensical expressions You can also see evidence of the power of rhetoric in expressions that have spread through culture. Sometimes they don't make literal sense, but have appealing patterns. It “takes two to tango,” but why not “it takes two to waltz”? People go “whole hog,” but why not “whole pig”? Why “cool as a cucumber”? Why “dead as a doornail”? Alliteration You may have noticed these phrases all have alliteration, which is the simplest of rhetorical forms. You're probably already familiar with it. All you have to do to use alliteration is start a couple words in a phrase with the same letter. I've noticed some evidence of the power of alliteration looking at expressions across English and Spanish. For example, if you directly translated “the tables have turned,” which is said often, nobody would know what you were talking about. But they would understand if you directly translated “the things have changed,” which nobody says. In Spanish, that's “las cosas han cambiado.” See? Alliteration. Tricolon So, why was Winston Churchill's quote misremembered as “blood, sweat, and tears.” Forsyth thinks it was probably because the tricolon is more appealing than the tetracolon. A tricolon is when three things are listed, a tetracolon, four. Famous tricolons include, “Eat, drink, and be merry,” and “It's a bird! It's a plane! It's superman.” Barack Obama's short victory speech in 2008 had twenty-one tricolons. Forsyth points out that tricolons seem to be more memorable if the first two things are short and closely-related, and the final thing is longer and a little more abstract. Like, “Life, liberty, and the pursuit of happiness.” Isocolon Tricolon is three things, tetracolon is four, so is isocolon just one? In a way. An isocolon is not one thing, but one structure, repeated two times. For example, “Roses are red. Violets are blue.” Epizeuxis When you do repeat one thing, that's called epizeuxis. So, when the Wicked Witch of the West said, “Fly! Fly! Fly! Fly!,” that was epizeuxis, but it didn't turn out to be memorable. Diacope People think the Wicked Witch of the West said “Fly, my pretties, fly!” That structure is called a diacope, which is essentially a verbal sandwich. It's one word or phrase, then another word or phrase, then that same word or phrase once again. So “Burn, baby burn,” from the song “Disco Inferno” was diacope, and so was one of the most famous lines in film, “Bond. James Bond.” Why do people think the Wicked Witch of the West said, “Fly, my pretties, fly!”? Probably not only because diacope is a more memorable form than epizeuxis, but also because there's other diacope in the film, such as “Run, Toto. Run!” Zeugma So, why did the phrase “Hell hath no fury like a woman scorned,” live on? I notice there's some alliteration in the phrase (“Hell hath...”), but Forsyth doesn't attribute any rhetorical structures to the phrase. However – besides the sweeping generalization about women that can't help but tickle the tribal human mind – the actual, original phrase came in the form of zeugma. Zeugma is using one verb to apply action to multiple clauses. So if you write “Tom likes whisky, Dick vodka, Harry crack cocaine,” you're using the verb “likes” one time for all three clauses, instead of repeating it. So the original phrase was from a seventeenth-century play called The Mourning Bride, and, once again, went “Heav'n has no rage, like love to hatred turned, Nor hell a fury, like a woman scorned.” The having is attributed to both heaven and hell, which makes it a zeugma. Ironically, Forsyth points out, there's a few phrases using zeugma that aren't remembered as such. So zeugma is memorable, but it's not. My personal theory is zeugmas take more attention to process. They make you stop and read it again. That extra attention helps us remember, but our memories are simplistic. This is something I get to see firsthand when people tell me they've read one of my books. You'd be amazed the different variations the human mind puts on simple titles such as The Heart to Start or Mind Management, Not Time Management. Chiasmus We've established that alliteration is pretty powerful for creating memorable phrases, and we've talked about why some short phrases are misremembered. But what about longer pieces of prose? The most powerful rhetorical form for a full sentence has to be the chiasmus. The word chiasmus comes from the Greek letter, “chi,” which is shaped like an X. So, chiasmus is when language crosses over. For example, when the three musketeers said, “One for all, and all for one,” that was chiasmus. The structure is ABBA, which happens to also be the name of a band that didn't do too poorly. Politicians use chiasmus a lot. Hillary Clinton said, in her bid for president, “The true test is not the speeches a president delivers, it's whether the president delivers on the speeches.” Forsyth points out that JFK's inauguration speech was “chiasmus crazy.” Having watched it on YouTube, I have to agree, there's enough chiasmus to make you dizzy. But at least one of those phrases lived on: “Ask not what your country can do for you, but what you can do for your country.” One chiasmus I've noticed – on a more granular level – is in the title of The Four Hour Work Week. It's a chiasmus of assonance – assonance being the repetition of vowel sounds. It goes, E-O-O-O-E: The Four Hour Work Week. Mix that in with a little alliteration (“Work Week”), and a promise you can't ignore (working four hours a week), and you've got a book title with a chance to be a hit. Anadiplosis, Epistrophe, Anaphora A few more rhetorical forms that have to do with the order of words within clauses: anadiplosis, epistrophe, and anaphora. Anadiplosis is repeating the last word or phrase of a clause as the first word or phrase of the next. Yoda used anadiplosis when he said, “Fear leads to anger. Anger leads to hate. Hate leads to suffering.” Malcolm X used anadiplosis of phrases when he said, “Once you change your philosophy, you change your thought pattern. Once you change your thought pattern, you change your attitude.” That's also anaphora, which is starting each sentence or clause with the same words. Anaphora was also used in the Bible: “A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted,” which just sounds wrong if you're more used to the adaptation of this in the song, “Turn! Turn! Turn!”, by The Byrds. Now, if you end each clause, sentence, or paragraph with the same word or phrase, that's something different. That's called epistrophe. Dean Martin used epistrophe, singing, “When the moon hits your eye like a big pizza pie, That's amore. When the world seems to shine like you've had too much wine, That's amore.” Honorable mention There's of course much more to The Elements of Eloquence. The terms for these rhetorical forms are intimidating and hard to remember, but Mark Forsyth weaves together his descriptions with incredible, well, eloquence. Some other forms that deserve honorable mention: Syllepsis: using a word one time, but in two different ways. “Make love not war,” is a subtle syllepsis. Polyptoton: using a word twice, as both a noun and an adjective. “Please please me” was a polyptoton. Hendiadys: using an adjective as a noun, such as if you were to say, “I'm going to the noise and the city.” Merism: referring to the parts, rather than the whole, such as when you say, “ladies and gentlemen.” Metonymy: using a thing or place to represent something that thing or place is connected to, such as if you were to say, “Downing street was left red-faced last night at news that the White House was planning to attack the British Crown with the support of Wall Street.” There's your Elements of Eloquence summary There's my summary of The Elements of Eloquence. There's a lot more in the book about bringing eloquence to longer passages of text, such as through rhythmical structures like iambic pentameter. Will using these structures automatically make your writing great? No, in fact if you practice these structures, your writing will probably be a little strange at first. But you're probably already using some of these concepts, and with some knowledge and practice, you can use them more adeptly. The Elements of Eloquence is a fantastic writing book. I read it over and over. I highly recommend it. About Your Host, David Kadavy David Kadavy is author of Mind Management, Not Time Management, The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative. Follow David on: Twitter Instagram Facebook YouTube Subscribe to Love Your Work Apple Podcasts Overcast Spotify Stitcher YouTube RSS Email Support the show on Patreon Put your money where your mind is. Patreon lets you support independent creators like me. Support now on Patreon »     Show notes: http://kadavy.net/blog/posts/elements-of-eloquence-summary/

Pour ce vingt-sixième épisode, mon invitée est Maïc Baxane, graphiste et dessinatrice. Son intérêt pour le dessin s'est développé dans l'enfance. Elle a pu étayer cette pratique dans les Ateliers de dessins de sa ville, qui l'ont accompagnée jusqu'à la fin de l'adolescence. Après le lycée, elle a fait deux années de classe préparatoire aux Ecoles d'Art avant d'intégrer l'Ecole des Arts Décoratifs de Paris. Ses années d'études ont été mouvementées, notamment en raison de son intérêt grandissant pour le féminisme et le militantisme queer, qui était peu compris de son entourage scolaire et familial. Après une courte errance de sortie d'école, elle a eu un premier poste de graphiste salariée, mais le manque de créativité et de diversité des projets ne lui convenait pas. Elle s'est alors lancée en freelance, travaillant pour des associations. Mais au fil des mois, elle s'est rendu compte que sa pratique créative personnelle, qu'elle avait abandonnée durant ses études très prenantes, lui manquait. Elle s'est alors remise à créer, d'abord à travers le collage puis par la sérigraphie, un médium dans lequel elle s'est pleinement épanouie. Nous avons parlé de son inspiration et de son envie de partager ses oeuvres, stimulée par le désir de partager des images fortes avec d'autres personnes queer qui puissent s'y reconnaître. Elle m'a expliqué le lien entre son histoire familiale et la présence forte d'imagerie religieuse dans ses dessins. Nous avons également discuté de son travail de graphiste, qui lui plaît beaucoup, et de son avis ambivalent sur la précarité du statut de l'artiste dans notre société. J'espère que cet épisode vous plaira. Bonne écoute! Vous pouvez retrouver Maïc sur instagram sous le pseudo @ maic.baxane ou sur son site www.maicbatmane.fr Maïc a plusieurs actualités en région parisienne dans les mois qui viennent : L'exposition collective « The Ruby Horror Picture Show » au Cabinet des Curieux, à Paris, à partir du 28 octobre. Elle y présentera entre autres des originaux et une Sainte Wilgeforte en volume. Vous pouvez également voir des risographies inédites et du papier découpé à Montreuil à la librairie Zeugma, dans le cadre d'une exposition collective organisée par La Martiennerie à partir du 17 novembre. Et enfin le 12 décembre, elle organise à la Mutinerie à Paris le Sale Art Salon #2, XMasCore Edition. 10 artistes y seront invité-e-s autour de la micro-édition et de l'auto-édition. musique du générique : Podiab Club aka @dana-limpopo

Akdeniz; iklimi, bitki örtüsü, kendisini kuşatan kara parçalarının üzerinde yaşayan insanların kültürel cümbüşü ile hakikâten de yekta bir coğrafya.. Akdeniz'i genellikle, biraz da târihsel tecrübelerin ışığı altında “Mağrip” ve “Maşrık” olarak iki haneli düşünmeye şartlanmışızdır. Dahası, Adriyatik, İyon Denizi, Ege veyâ Adalar Denizi olarak zihnimizde bölmeyi de çok defâ ihmâl etmeyiz. Akdeniz, antik dünyâlarda yapısal olarak iki farklı veçhesiyle tezâhür etti. Canlı bir ticâret hayâtı küçük toplulukları, elde ettikleri zenginlikleri paylaşmaya yanaşmayan bir hırsa itti. Kendi içinde mütemâdiyen rekâbet eden ve çatışan mini sistemler bunu anlatır. Grekler bunun en çarpıcı numunesini teşkil eder. Sayısız site, aynı dil, din, aynı veyâ akraba etnik kökler, hattâ her dört senede bir tertip edilen olimpiyatlarda yükselen Helenlik bilincine rağmen asla bir araya gelmedi. Sürekli savaşıp birbirlerini helâk ettiler. Büyük İskender, ilk defâ “dışarıdan” gelen bir Makedonyalı barbar olarak târif edilse de kıt'a Yunanistan ve Küçük Asya'nın birliğini sağladı. Ama onun hedefleri Asya içlerine ulaşıyordu. Işık Doğu'dan geldiğine göre, yapılması gereken onun kaynağının feth edilmesiydi. Çok saygı duymasına rağmen hocası Aristo'yu dinlemedi. Belki de târihin görmediği bir cesâretle İran üzerinden Asya içlerine büyük, dramatik bir mâcerâya atıldı. Çok zafer kazandı. Ama projesini tamamlayamadan göçtü. Kendisinden sonra gelenler bu ağır coğrafyayı ayakta tutabilecek kudretten yoksundu. Kurduğu birlik iskambil kâğıtlarından oluşan bir kule gibi yıkılıverdi. Tekrar mini sistemler kuruldu.. Taa ki Roma'ya kadar. Romalı fâtihler İskender gibi değildi. Daha gerçekçi düşünüyorlardı. Birleşik bir yapının Akdeniz ve onun hinterlandı ile sınırlı olabileceğini gördüler. Evet, Sasaniler başta olmak üzere İran ile savaştılar. Ama bu “nâfile” savaşlar iki taraf için de bir coğrafî değişim doğurmadı. Roma, Balkanlar, Anadolu, Mezopotamya, Levant bölgesi, Mısır, Kartaca ile ilgilendi. Evet, bugünkü Avrupa'ya da seferler yaptı. Ama Roma'nın bugünkü Fransa, hattâ Britanya'daki varlığı, ağırlıklı olarak güvenlik endişesinden kaynaklanan garnizonlar seviyesindeydi. Roma medeniyetine âit, Perge, Petra, Zeugma, Palmira vb. muhteşem şehirlerin benzerlerini Avrupa'da bulmak mümkün değildir. Ha, Roma şehri diyeceksiniz, onu kadim kökleriyle Akdeniz hânesine yazsak iyi ederiz. Kanaâtimce Roma'nın, Doğu ve Batı olarak ikiye ayrılması, onun brüt coğrafyasından net coğrafyasına, yâni Doğu Akdeniz'e çekilmesini ifâde eder. Osmanlılar ise çöken Roma'nın yerini aldı. Osmanlılar, Oğuz kökenli Rûmî Türklerdi. Fâtih Sultan Mehmed'i insanlık târihinde büyük kılan Roma'yı çökertmesi değil, tam aksine Müslüman bir ruhla, çok daha medenî temeller üzerinde yeniden inşâ etmesiydi. Kendisini “Kayser-i Rûm” olarak sıfatlaması da buna işâret eder. O büyük bir restoratördü...

In this episode of the ArtsEquator theatre podcast, Naeem Kapadia, Matthew Lyon and Nabilah Said discuss Three Sisters by Nine Years Theatre and _T0701_ by Zeugma, which were both part of SIFA 2021. Stream Podcast 95: ArtsEquator · Podcast 95:... The post Podcast 95: Three Sisters and _T0701_ at SIFA 2021 appeared first on ArtsEquator.

Die 25. Jubiläumsfolge greift das Thema der bisher am meisten gehörten Folge, nämlich Episode 14, auf. Damals ging es um rhetorische Stilmittel, die Du öfter verwenden solltest. Heute geht es um rhetorische Stilmittel, die Du nicht oder nur selten verwenden solltest. Redefiguren sind das Salz in der Buchstabensuppe. Aber nimmt man zuviel davon, schmeckt es eben nicht mehr. Bei den Stilmitteln, die ich Dir hier zeige, ist die Gefahr besonders groß.

Zur 100. Folge (mit Dyskalkulie) werden wir richtig feierlich und sezieren die Diskrepanz zwischen Adverbien und Substantivierung. Außerdem präsentieren wir freche Punchlines und analysieren Kevin Spaceys Comeback. Like, wer‘s hört!

[Yu-Gi-Oh! Duel Monsters: Episodes 079 - 081] This episode contains NON-STOP ACTION! We have a duel in a GRAVEYARD, we have cars breaking through WALLS, we have NINJAS, we have ATTEMPTED KIDNAPPING, we have A STUPID, IMPRATICAL MODE OF TRANSPORTATION! What more could you possibly want from a Yu-Gi-Oh! podcast?

Kahverengi Yol Panoları'nın bu bölümdeki konuğu Prof. Dr. Kutalmış Görkay.

Geraldine DeRuiter with Jason Barnard at Kalicube Tuesdays Geraldine DeRuiter talks with Jason Barnard about the Pratfall Effect In this podcast Geraldine and Jason talk about how failure can be a sign of a more authentic and endearing person. The pratfall effect is the idea that when a generally successful brand or person fails in some manner, this makes people perceive them more positively. Geraldine expands on that idea, talking about taking that failure or mistake, learning from it and using the lesson learned to improve on future actions. Using previous examples and quite a few recent mistakes by Jason and Geraldine themselves, they reveal how they improved by learning from their errors... and discuss how being fallible is simply part of being human. What you'll learn 00:02 Introducing Geraldine DeRuiter00:39 What is an ‘Everywhereist'?01:58 The Knowledge Graph and Knowledge Panel of this podcast3:03 What defines someone or something as a success in their area of expertise?06:33 Introduction to the pratfall effect07:58 An example of being critical of yourself in the hope of improving10:45 Perceiving our own mistakes as worse than they are12:16 Playing through your failures and leaning on others for support14:37 Do people tie the success of others to their own?15:24 How does being fallible help you?16:24 Failing and falling forward: Recovering from our mistakes and improving upon them17:52 When the fight or flight response kicks in when the mistake occurs19:23 How should you perceive an audience when public speaking: friend or foe?20:50 Is this statement true? The main barrier to your own success is often yourself23:30 Jason's story with the dictionary and the word ‘Zeugma'  26:29 The pratfall effect in marketing advertisements28:02 The significance of strong branding and the pratfall effect Subscribe to the podcast Subscribe here >> This episode was recorded live on video October 21 2020 Recorded live at Kalicube Tuesdays (Digital Marketing Livestream Event Series). Watch the video now >>

Geraldine DeRuiter with Jason Barnard at Kalicube Tuesdays Geraldine DeRuiter talks with Jason Barnard about the Pratfall Effect In this podcast Geraldine and Jason talk about how failure can be a sign of a more authentic and endearing person. The pratfall effect is the idea that when a generally successful brand or person fails in some manner, this makes people perceive them more positively. Geraldine expands on that idea, talking about taking that failure or mistake, learning from it and using the lesson learned to improve on future actions. Using previous examples and quite a few recent mistakes by Jason and Geraldine themselves, they reveal how they improved by learning from their errors... and discuss how being fallible is simply part of being human. What you'll learn 00:02 Introducing Geraldine DeRuiter00:39 What is an ‘Everywhereist'?01:58 The Knowledge Graph and Knowledge Panel of this podcast3:03 What defines someone or something as a success in their area of expertise?06:33 Introduction to the pratfall effect07:58 An example of being critical of yourself in the hope of improving10:45 Perceiving our own mistakes as worse than they are12:16 Playing through your failures and leaning on others for support14:37 Do people tie the success of others to their own?15:24 How does being fallible help you?16:24 Failing and falling forward: Recovering from our mistakes and improving upon them17:52 When the fight or flight response kicks in when the mistake occurs19:23 How should you perceive an audience when public speaking: friend or foe?20:50 Is this statement true? The main barrier to your own success is often yourself23:30 Jason's story with the dictionary and the word ‘Zeugma'  26:29 The pratfall effect in marketing advertisements28:02 The significance of strong branding and the pratfall effect Subscribe to the podcast Subscribe here >> This episode was recorded live on video October 21 2020 Recorded live at Kalicube Tuesdays (Digital Marketing Livestream Event Series). Watch the video now >>

Geraldine DeRuiter with Jason Barnard at Kalicube Tuesdays Geraldine DeRuiter talks with Jason Barnard about the Pratfall Effect In this podcast Geraldine and Jason talk about how failure can be a sign of a more authentic and endearing person. The pratfall effect is the idea that when a generally successful brand or person fails in some manner, this makes people perceive them more positively. Geraldine expands on that idea, talking about taking that failure or mistake, learning from it and using the lesson learned to improve on future actions. Using previous examples and quite a few recent mistakes by Jason and Geraldine themselves, they reveal how they improved by learning from their errors... and discuss how being fallible is simply part of being human. What you'll learn 00:02 Introducing Geraldine DeRuiter00:39 What is an ‘Everywhereist'?01:58 The Knowledge Graph and Knowledge Panel of this podcast3:03 What defines someone or something as a success in their area of expertise?06:33 Introduction to the pratfall effect07:58 An example of being critical of yourself in the hope of improving10:45 Perceiving our own mistakes as worse than they are12:16 Playing through your failures and leaning on others for support14:37 Do people tie the success of others to their own?15:24 How does being fallible help you?16:24 Failing and falling forward: Recovering from our mistakes and improving upon them17:52 When the fight or flight response kicks in when the mistake occurs19:23 How should you perceive an audience when public speaking: friend or foe?20:50 Is this statement true? The main barrier to your own success is often yourself23:30 Jason's story with the dictionary and the word ‘Zeugma'  26:29 The pratfall effect in marketing advertisements28:02 The significance of strong branding and the pratfall effect Subscribe to the podcast Subscribe here >> This episode was recorded live on video October 21 2020 Recorded live at Kalicube Tuesdays (Digital Marketing Livestream Event Series). Watch the video now >>

Geraldine DeRuiter with Jason Barnard at Kalicube Tuesdays Geraldine DeRuiter talks with Jason Barnard about the Pratfall Effect In this podcast Geraldine and Jason talk about how failure can be a sign of a more authentic and endearing person. The pratfall effect is the idea that when a generally successful brand or person fails in some manner, this makes people perceive them more positively. Geraldine expands on that idea, talking about taking that failure or mistake, learning from it and using the lesson learned to improve on future actions. Using previous examples and quite a few recent mistakes by Jason and Geraldine themselves, they reveal how they improved by learning from their errors... and discuss how being fallible is simply part of being human. https://www.youtube.com/watch?v=1YqhVNQ9nYg In partnership with Wordlift What you’ll learn 00:02 Introducing Geraldine DeRuiter00:39 What is an ‘Everywhereist’?01:58 The Knowledge Graph and Knowledge Panel of this podcast3:03 What defines someone or something as a success in their area of expertise?06:33 Introduction to the pratfall effect07:58 An example of being critical of yourself in the hope of improving10:45 Perceiving our own mistakes as worse than they are12:16 Playing through your failures and leaning on others for support14:37 Do people tie the success of others to their own?15:24 How does being fallible help you?16:24 Failing and falling forward: Recovering from our mistakes and improving upon them17:52 When the fight or flight response kicks in when the mistake occurs19:23 How should you perceive an audience when public speaking: friend or foe?20:50 Is this statement true? The main barrier to your own success is often yourself23:30 Jason’s story with the dictionary and the word ‘Zeugma’  26:29 The pratfall effect in marketing advertisements28:02 The significance of strong branding and the pratfall effect

This is the last episode in the 12 part series of Literary Devices. Check out the meaning and usage of Synesthesia and Zeugma in English Literature.

Today's tip is a rhetorical device that is as fun to say as it is to write: the zeugma! Listen to learn all about it! Check out my book, The Indie Writer's Encyclopedia: http://www.authorlevelup.com/encyclopedia Write like the top 1% of authors with my FREE Writing Craft Playbook: http://www.authorlevelup.com/fanclub Listen to past episodes: http://www.authorlevelup.com/flash  Watch my YouTube channel for writers: http://www.youtube.com/authorlevelup  Read my books for writers: http://www.authorlevelup.com/books  Check out my fiction: http://www.michaellaronn.com  and http://www.mlmcknight.com

Lancelot Hamelin et Étienne Oburie, La Mort aux yeux de cristal, Éditions Glénat, 12 décembre 2018.Tremblez devant le premier Giallo dessiné ! Rome. Radka Sukova est l'égérie d'un très grand styliste français. Réputée pour avoir les plus beaux yeux du monde, elle nourrit les fantasmes et les convoitises. Très à l'aise avec son statut d'icône, elle déchante le jour où elle apprend que son sosie a été assassinée, énucléée, ses yeux remplacés par deux morceaux de cristal taillé. Cette « signature » ne laisse planer aucun doute : la véritable cible, c'était Radka ! L'enquête, confiée au commissaire Cornélia, la mènera sur les traces d'un meurtrier appartenant à une communauté fantastique et obéissant à une mystérieuse entité, noire comme les nuits sans rêves... Connaissez-vous le « Giallo » ? Ce genre de films d'exploitation italiens auxquels sont associés les noms de Dario Argento ou Mario Bava, nourrit un véritable culte auprès des cinéphiles du monde entier. Un genre à l'identité visuelle et sonore (souvent signée Ennio Morricone) très marquées, dont Lancelot Hamelin et Étienne Oburie, qui signe ici son premier ouvrage, s'emparent avec une maestria qui force le respect. Dans la grande tradition du Giallo, ils livrent un récit de série B à la frontière du polar, de l'horreur et de l'érotisme où, derrière le masque du divertissement, émergent un vrai propos d'auteur - ici, la critique de la marchandisation du corps féminin - et des idées de mise en scène audacieuses.Passionné par les rapports entre fiction et réalité, Lancelot Hamelin écrit pour le théâtre, la télévision, mais aussi des romans, reportages et bandes dessinées. Ses romans sont publiés chez L’Arpenteur : Le Couvre-feu d’octobre (2012) et À la crête des vagues (août 2016). Il est associé au théâtre Nanterre-Amandiers, collabore à la revue Parages du Théâtre national de Strasbourg et fait partie de l’auteur collectif Petrol.Étienne Oburie travaille comme illustrateur, auteur de bandes dessinées et graphiste. Il a participé à l’album collectif Les Années noires, paru aux éditions Le Troisième homme, ainsi que carnet d’artistes Sur le vif, paru aux éditions Zeugma. Il signe avec La Mort aux yeux de cristal son premier album de bande dessinée.

FIGURAS DE SINTAXE: HIPÉRBATO, PLEONASMO, ANACOLUTO, ELIPSE, ZEUGMA, ASSÍNDETO, POLISSÍNDETO, ANÁFORA,

Richard Factor, WA2IKL, joined the amateur radio ranks 60 years ago, and was inspired by the technology dreams of the popular science fiction writers of that era.  His interest in radio, electronics, and science led WA2IKL to establish his own technology business, now fifty years old. WA2IKL tells his ham radio story and how he uses is Toyota Prius as a backup power supply for his house. 

Narrador: Francisco Fernández // Más audiolibros en: http://audiolibrosencastellano.com // Puedes apoyarme en: http://paypal.me/audiolibrosffj // POEMAS 00:00:08 Prólogo // 00:12:38 - Lloraré // 00:14:36 - Un ruido me despertó anoche // 00:15:32 - Tu no beso aún // 00:16:10 - Era mucho más fácil // 00:19:16 - En el fin de los días // 00:20:21 - Paseo por su imaginación // 00:21:28 - No vale tanto // 00:22:31 - Para entender este poema // 00:24:11 - El solitario // 00:25:04 - El desequilibrio como punto intermedio // 00:26:02 - Relevo interlingüístico // 00:26:37 - Las uvas del banquete // 00:27:26 - Aún no se conoce una forma de vida inteligente // 00:29:10 - Si no te quise mañana // 00:30:37 - Uno se siente, a veces // 00:31:35 - El tiempo a cucharadas // 00:32:22 - Estudio de la desigualdad como tinta imborrable // 00:33:40 - Los hay adictos a la miseria // 00:34:45 - Una mano inquieta dejando caer el vaso de leche // 00:35:58 - Preferencias ante una sociedad obsoleta // 00:37:07 - Uno para dos // 00:39:28 - Cuerpo // 00:40:31 - Los amantes naturales // 00:41:22 - Imputación del chivo expiatorio // 00:42:13 - Descuento preguntando por coste de producción // 00:43:05 - El debate de la inanición // 00:43:59 - Mañana pasará rápido // 00:44:54 - Amor entre manos // 00:46:08 - Vas a morir // 00:46:36 - Los falsos profetas no van a la cárcel // 00:47:37 - La noche bajando al mar // 00:48:23 - Rayo latente // 00:49:15 - La historia del final // 00:53:22 - Desde que no está // 00:54:44 - La delgada sombra // 00:55:36 - Canción del verano para la hormiga y la cigarra // 00:56:45 - Ícaro // 00:57:32 - La gran migración // 00:59:03 - Las horas del reloj // 01:00:14 - Esta noche estoy solo // 01:01:10 - Proposición preposicional // 01:01:45 - Zeugma de amor // 01:02:21 - Estromatolitos se llaman // 01:03:13 - Para que me escriba un poema // 01:04:35 - Nadie vendrá a salvarnos // 01:06:25 - Heurística de la normalidad // 01:08:36 - Somos diferentes // 01:09:27 - Creo que la amo // 01:13:03 - Ya sé // 01:14:05 - La vida que viene // 01:15:25 - Por ella // 01:16:20 - Juegos del lenguaje // 01:18:06 - De cómo olvidé todas las palabras // 01:21:17 - Jugar al escondite // 01:22:20 - Usted está usted // 01:25:00 - Alma de cántaro // 01:26:26 - Un país llamado fraude // 01:28:07 - Escribid, malditos // 01:29:34 - Prefiero escribir // 01:31:17 - A cada rato // 01:32:51 - Hay un tiburón en la bañera // 01:33:51 - Pluma // 01:34:43 - Así es imposible // 01:36:04 - No puedo decir que la amé // 01:37:39 - Como si el amor // 01:38:46 - El muestrario // 01:40:12 - Busca que te busca

This episode of the Good Words Podcast concerns the word, "zeugma."  Host Lynn Hickernell also introduces bonus words, "idiom," and "homophone."  Includes recurring features, "It Came From the Internet," and "GET IT?!?!?" Complete show notes available at https://www.patreon.com/posts/20293621

À l'occasion de la sortie de mon roman "Les adultes n'existent pas", on revient sur l'écriture de la chanson "Imaginary Conversations", qui ouvre mon deuxième album et a des liens avec l'histoire racontée dans ce livre… Le bouquin : https://www.editionsintervalles.com/catalogue/les-adultes-nexistent-pas/ Soirée à la librairie Intervalles, 2 rue Bleue, Paris 9e, le 20 juin : https://www.facebook.com/events/246277356140983/ Soirée rencontre-dédicace à la librairie Zeugma, 7 avenue Walwein à Montreuil, le 3 juillet : https://www.facebook.com/events/180330809341762/

“Since his death in 1960, Timothy J Haigh has been widely recognised as the least gifted of the great mystery novelists of the golden age of travel writing…” So begins the introduction to Z is for Zeugma. Yes, Tim has killed himself off for fun. Switching chairs for the purpose, he finds himself as interviewee rather than -er, for this playful little book. John Mindlin is obliged to step and ask the questions just this once. In this not-really-a-novel-at-all Tim gives free rein to his propensity for embracing any joke that occurs to him in a loose narrative that sends up every cliché of crime writing, and quite a lot … Continue reading →

This episode of Rhetoricity is a rebroadcast of a 2014 interview with Joyce Locke Carter, associate professor at Texas Tech University and chair of the 2016 Conference on College Composition and Communication (CCCC). Originally, the interview was conducted for and published by the Digital Writing and Research Lab's Zeugma podcast. This week, Dr. Carter will be giving the CCCC chair's address in Houston, Texas. Because she discusses her address and the role of CCCC chairs in this interview, now seemed like a relevant time to circulate it again. Dr. Carter's address is entitled “Making, Disrupting, Innovating,” and will explore strategies for making the case for rhetoric and composition’s value. In addition to her work with CCCC, Joyce Locke Carter is the author of the book Market Matters: Applied Rhetoric Studies and Free Market Competition. Her current book project is entitled Reading Arguments. It focuses on how sophisticated readers engage with documents that ask them to make a decision. The project deals with a significant gap in rhetoric scholarship about what audiences actually do when they read and respond to purposeful rhetorical acts. Additionally, her work has appeared in Technical Communication Quarterly, Computers and Composition, and Programmatic Perspectives. A transcript of the Zeugma version of the interview is available here.

This episode of Rhetoricity features an interview with Victor Vitanza, the Jean-Francois Lyotard Chair at the European Graduate School and a Professor of English and Rhetoric at Clemson University. The interview was conducted at the 2014 Rhetoric Society of America conference in San Antonio, Texas, and originally published as part of the Zeugma podcast's 2014 summer interview series. Dr. Vitanza founded the Rhetorics, Communication, and Information Design (RCID) program at Clemson, has written such books as Negation, Subjectivity, and the History of Rhetoric and Sexual Violence in Western Thought and Writing, and serves as editor of Pre/Text: A Journal of Rhetorical Theory. He's currently working on a film and companion book entitled The Returns of Philology: This Time, Anachronistics. In this interview, Vitanza discusses Kenneth Burke and Geoffrey Sirc, rhetorics and media old and new, and Immanuel Kant and Internet cats. There's also, I should promise and advise listeners, quite a bit of talk about scatology. Since this interview is a little longer than other Rhetoricity episodes, I've split it in two. You can find the second half, during which we turn our attention to cats, Sirc, and the RCID program, here. This episode cites the following sources: Kenneth Burke's "Rhetoric--Old and New" Diane Davis's Inessential Solidarity Jacques Derrida's "Mochlos; or, the Conflict of the Faculties" Immanuel Kant's "Conflict of the Faculties" George A. Kennedy's "A Hoot in the Dark" Avital Ronell's The Telephone Book: Technology, Schizophrenia, Electric Speech Geoffrey Sirc's "Writing Classroom as A&P Parking Lot" It also includes sound clips from Johann Sebastian Bach's "Italienisches Konzert, BWV 971, Movement 1," the Community episode "Biology 101," and "Who You Gonna Call?" All other music and sound clips are from GarageBand's loop library and the website freesound.org.

This is the second half of a two-part interview with Victor Vitanza, the Jean-Francois Lyotard Chair at the European Graduate School and a Professor of English and Rhetoric at Clemson University. You can find the first half here. The interview was conducted at the 2014 Rhetoric Society of America conference in San Antonio, Texas, and originally published as part of the Zeugma podcast's 2014 summer interview series. In this half of the interview, Vitanza discusses the futures of Pre/Text: A Journal of Rhetorical Theory, including upcoming issues on "cat theory," Geoffrey Sirc, and the Italian writer Mario Untersteiner. I also ask him about Clemson's Rhetorics, Communication, and Information Design PhD program, and we end with a brief discussion of typos and silence.