Dante in Translation (ITAL 310)

This lecture covers Paradise XXIV-XXVI. In the Heaven of the Fixed Stars, Dante is examined on the three theological virtues by the apostles associated with each: St. Peter with faith (Paradise XXIV), St. James with hope (Paradise XXV), and St. John with love (Paradise XXVI). While mastering these virtues is irrelevant to the elect, it is crucial to the message of reform the pilgrim-turned-poet will relay on his return home. Dante's scholastic profession of faith before St. Peter (Paradise XXIV) is read testament to the complication of faith and reason. The second of the theological virtues is discussed in light of the classical disparagement of hope as a form of self-deception and its redemption by the biblical tradition through the story of Exodus, the archetype of Dante's journey. The pilgrim's three-part examination continues in Paradise XXVI under the auspices of St. John, where love, the greatest of the virtues is distinguished by its elusiveness. The emphasis on love's resistance to formal definition sets the stage for the pilgrim's encounter with Adam, who sheds light on the linguistic consequences of the Fall.

00:00 - Chapter 1. An Introduction to the Three Theoretical Virtues
07:59 - Chapter 2. The Virtue of Faith
28:22 - Chapter 3. The Virtue of Hope
44:40 - Chapter 4. The Virtue of Love
56:08 - Chapter 5. Question and Answer

Complete course materials are available at the Open Yale Courses website: http://open.yale.edu/courses

This course was recorded in Fall 2008.

Dante in Translation (ITAL 310)

Professor Mazzotta begins this lecture by recapitulating the ambivalent nature of Ulysses' sin and its relevance to Dante's poetic project. Inferno XXVII is then read in conjunction with the preceding canto. The antithetical relationship between Dante's false counselors, Ulysses and Guido da Montefeltro, anchors an overarching discussion of the relationship between rhetoric and politics. The latter half of the lecture is devoted to Inferno XXVIII, where Dante's preeminent sower of discord, Bertran de Born, introduces the principle of the contrapasso. The law of retribution that governs Dante's Inferno is discussed in light of classical and contemporary theories of justice/crime and punishment. In conclusion, the opening of Inferno XXIX is read as a retrospective gloss on the limitations of retributive justice.

00:00 - Chapter 1. Returning to Canto XXVI and Ulysses's Sin
11:14 - Chapter 2. Canto XXVII: Counter Myth to the Story of Ulysses
28:47 - Chapter 3. Canto XXVIII: Bertan de Born among the Makers of Discord
46:29 - Chapter 4. A Poet of Justice
57:00 - Chapter 5. Question and Answer

Complete course materials are available at the Open Yale Courses website: http://open.yale.edu/courses

This course was recorded in Fall 2008.

Dante in Translation (ITAL 310)

Guest lecturer Professor David Lummus discusses Purgatory XXIV-XXVI. On the terraces of gluttony and lust, the pilgrim's encounters with masters of the Italian love lyric give rise to the Comedy's most sustained treatment of poetics. Through Dante's older contemporary Bonagiunta (Purgatory XXIV), the pilgrim distinguishes the poetic style of his youth from that of the courtly love tradition pursued by his interlocutor. In Purgatory XXVI, Dante reinforces his own poetic genealogy through his encounter with Guido Guinizelli, founder of the Sweet New Style of poetry he crafted in his youth. The interpretative key to the language of paternity and filiation that pervades these cantos is found in Purgatory XXV, where Statius' embryological exposition of the divine creation of the soul conveys the divinity of poetic inspiration.

00:00 - Chapter 1. Additional Remarks about the Relationship between Statius and Virgil
02:03 - Chapter 2. The Relationship between Poetry and Gluttony
08:49 - Chapter 3. Bonagiunta da Lucca
34:52 - Chapter 4. Poetic Identity
45:51 - Chapter 5. Question and Answer

Complete course materials are available at the Open Yale Courses website: http://open.yale.edu/courses

This course was recorded in Fall 2008.

Dante in Translation (ITAL 310)

This lecture deals primarily with Cantos XIX and XXVI of Inferno. Simony, the sin punished in Inferno XIX, is situated historically to point out the contiguity of the sacred and the profane and its relevance to the prophetic voice Dante established in this canto. The fine line between prophecy and profanation is shown to resurface in Inferno XXIV and XXV, where the poet falls prey, as did the pilgrim in Inferno IV, to poetic hubris. Once again, the dangers of Dante's poetic vocation are dramatized in the canto that immediately follows. In Inferno XXVI, Dante's tragic revision of the journey of Ulysses is shown to offset his own poetic enterprise, while acknowledging its risks.

00:00 - Chapter 1. Returning to Canto XV and Brunetto Latini
06:58 - Chapter 2. The Prophetic Voice and the Writer of Epistles
12:12 - Chapter 3. Canto XIX: Simony, Sacrilege and the Sacred
32:24 - Chapter 4. Short Remarks about Comedy and the Fall
33:56 - Chapter 5. Canto XV: Reenacting the Aesthetic Temptation
38:50 - Chapter 6. Canto XXVI: Ulysses as a Mode of Being for Dante
01:02:31 - Chapter 7. Question and Answer

Complete course materials are available at the Open Yale Courses website: http://open.yale.edu/courses

This course was recorded in Fall 2008.

Sequencers are words that organize your writing and speaking, words like “first”, “next”, “then”, “after that”, and “finally”. We often use sequencers in English when we give instructions, describe a process, or tell stories. Using sequencers is a simple trick that improves your writing and speaking because it organizes your ideas into sections and gives them an order. Watch the video and you will see how sequencers can help others understand you more clearly. Next, take the quiz at https://www.engvid.com/english....-writing-sequencing-

TRANSCRIPT

Hello. My name is Emma, and in today's video I am going to teach you about sequencers. So, "sequencers" are words like: "First", "Next", "Then", "After that", and "Finally". We use sequencers when we are talking about steps or the order of doing things. So, we will use sequencers when we tell stories. We use sequencers when we give instructions, such as how to do something. Okay? Because when we tell someone how to do something, we're giving them a lot of different steps, and so sequencers help us organize these steps. Okay, so let's get started and let's see some examples of how we use sequencers.

So, I have here my five steps: "First", "Next", "Then", "After that", and "Finally". These are the sequencers we're focusing on in today's lesson. So, I want you to imagine you want to tell somebody how to make a hamburger. Okay? When you make a hamburger, there are different steps to making a hamburger.

"First, you take a bun. Next, you put lettuce on the bun. Then you add a hamburger or the meat. After that, maybe you put ketchup or mustard. And finally, you put on the top bun and you eat it." So, these are the five steps in making a hamburger. That's just an example of how we would use this type of language. Okay?

So, when we're using sequencers, "First" always comes first. Okay? So, notice "First" is number one. So, when we're giving instructions or we're giving steps, this is how we would start. When we're ending our instructions or at the end of what we're saying, when we're giving a how-to or telling somebody how to do something, we can end with this word: "Finally". So, "First" is the first thing you say, "Finally" is the last, and then we have these three: "Next", "Then", and "After that". They all mean the same thing, so you can use "Then" as your second step; you can use "After that" as your final step; you can use these interchangeably. So, it doesn't matter the order of these three. "First", "Then", "Next", "After that", "Finally" - we can use sequencers in that way, too.

So, let's think of some more examples. I want you to use these in your own life, or think about ways you can use these in your own life. I want you to think about when you woke up this morning. What were five things you did? And think about the order you did them in. So, maybe: First, you heard your alarm clock. Okay? So, first, you woke up and you heard your alarm clock. What's the second thing that happened? Well, maybe if you're like me: Next, I had a shower. I took a shower. Okay. After that, I ate breakfast. Then I brushed my teeth. And finally... Oo, what did I do "finally" this morning? I think I went for a walk. Okay? So, those were the five things I did this morning in the order I did them.

So, I want you to try: Think about the five things you did this morning. And you can say them out loud to practice. Okay? So: First, you... Next... Then... After that... And: Finally... So let's look at another example of how we can use these sequencers.

So, one of my favourite things in life is drinking tea; I love tea. So, I am going to use sequencers to teach you how to make a cup of tea. So, first thing I want to use is the word "First". The first thing you do is first: You boil the water. Okay? So, you boil water; you make it very hot. Then you add tea to your cup. Okay? Maybe you have a tea bag. Next, you add the hot water to the cup. After that, add milk and sugar. Finally, you stir it and you drink it. Okay?

So, these are steps in making a cup of tea. Now, if I wanted to, I could go and make more steps. Okay? And I can use some of these multiple times. So, maybe I can use "Then" to talk about: Then you let the tea steep or you let the tea... You... I don't know. Then you add honey. So, there are other steps you might add. And you can use some of these sequencers multiple times. Again, the main thing is: Use "First" for the first step, and "Finally" for the last step. Let's look at one more example of using sequencers when we're talking about how to do something.

Okay, so let me tell you about a true story. I have a friend named Lucy, and she is beautiful, smart, funny; she's a wonderful woman, and right now she's looking for a boyfriend. So, she asked me for advice: Emma, how can I find the man of my dreams? […]

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Chignon by definition is either the art of folding hair, or a large, smooth twist of hair at the back of the head. So watch Gratitude Educator Barrett Stillitano as she employs these artistic techniques in a classic, beautiful formal style, great for any occasion.

http://www.engvid.com/ The plant grows or grows up? I grew in Toronto or I grew up in Toronto? Is there a difference between grow and grow up? This lesson will explain what these words mean in English and when we use them, so you won't make this common mistake again. Take a quiz on this lesson here: http://www.engvid.com/grow-or-grow-up/

An interview with Tom Davenport, Professor of Information Technology & Management, Babson College. While some elements of Google's success as innovator would be very hard to emulate, others can be profitably adopted by almost any business.

إداره أعمال - وظيفة الأفراد - 1

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All you need to know about "Locating Information" tasks in IELTS Reading. http://www.dori-ielts.com
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Flip Flops and the Latch

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Appraisal and bestowal, Derrida, freedom versus paternalism, love of things, artificial intelligence
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Please watch more videos:
1/ENGLISH CONVERSATION series:
https://www.youtube.com/watch?v=ZLm25oA16FI&list=PLzVm1SmjPKc_OnC56MbILOmdXvGV_3kE9
2/NEW HEADWAY series: https://www.youtube.com/watch?v=CAXLA5lavG8&list=PLzVm1SmjPKc_MlCCekxbPMOMKbFLIdMq6

#englishconversation

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تم اعادة فتح شراء كورس تعلم صناعة فيديوهات كارتون انيميشن والتربح منها مثل قنوات اسلوب بالتخفيضات الجديدة
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تعلم أنيميشن من الصفر

Good writing makes use of transition words, thereby creating better flow and adding some style to the text. In this lesson we'll look at some linking words and transitions used to connect ideas, such as: "thereby", "thereof", "hereby", "therein", "wherein", "whereby", and more. This will make your writing clear and organized. Watch the video to improve your writing style.

Now it's time for a lesson on some different transitions:
https://www.youtube.com/watch?v=IsDR3XEv50E&index=103&list=PLxYD9HaZwsI5C0d8CivHvoI_-0rs8XMfc&t=0s

TAKE THE QUIZ ON THIS LESSON: https://www.engvid.com/writing....-advanced-english-tr

TRANSCRIPT

Hi again, everybody. Welcome to www.engvid.com. I'm Adam. In today's video we're going to look at transitions. Now, you may have seen some other videos on engVid about transitions, especially for writing. What we're going to look at today are a few more specific transitions, but this time we're not looking at transitions between paragraphs or even transitions between sentences. Okay? We're looking at transitions that we are generally using in a sentence to shift from one idea to another idea in a sentence. So they're very similar to, like, adverb... Adverb clauses, for example, but they're used in different ways. But, again, they do have their specific purposes. Now, you'll also notice that all of them or most of them start with: "there" plus a preposition, or "where" plus a preposition, and we have the one special one: "hereby". So: "Thereby", "Thereof", "Thereafter", "Therein", "Therefore", "Wherein", "Whereby", "Hereby", these are the words we're going to look at and how they're used within sentences.

Now, before I explain these to you and show them... Show you samples of how they're used, I want you to understand that these are generally very formal, very high-end. They're not very commonly used. There are other ways you can say these things without being too serious, I guess you could say. But if you're going to university, if you're going to take a test, IELTS, TOEFL, SAT, all these tests - you will see these and you should be able to use them as well. And if you can actually use them properly in your essays, and like, again, nicely, appropriately, good timing, your score... That'll help your score. It should go up quite a bit because these are not very easy to use.

So, we're going to start with "thereby". "Thereby" basically means by which, or through which, or like through this action something happened. It's a little bit similar to: "due to". The only problem is you can't use it in the same structure as "due to". Okay? So let's look at the first sentence. "The team lost the final game of the season, thereby missing the playoffs." So, basically by doing this, by losing the last game, the result... What happened? They missed the playoffs. But notice that we are using an "ing" here: "...thereby missing the playoffs", right? This is basically a gerund expression, a gerund phrase, but we can't use this with a clause. We're using it with an "ing". So that's one thing you have to keep in mind. If I wanted to use "due to", I would have to change the whole structure. "Due to their loss in the final game of the season, the team missed the playoffs." A completely different structure. I'm using the independent clause, here, the "due to" with the cause, etc. This one gives you another option, basically, on how to link the ideas. Cause, effect. But we don't have to use the "ing", we can use another way. "Lisa studied for three straight weeks and was thereby able to pass her test." So she studied, studied, studied, and through this action she was able to pass her test. And: "...and was thereby", "...and she was thereby able". Notice that I'm not using this to start the clause; I'm using it within the clause, between the verbs to show through this action, this was the result that she was looking for. Okay? So: "by which", "through which action".

Let's look at "therein". "The new contract does not allow for extended maternity leave;" here I'm using the semi-colon, I'm going to give you the next idea, so this is like a conjunction. "...therein lies the problem for the union, 60% of whose membership is young women". So, "therein" basically means in that, or into that situation, problem, position, state, etc. So, "therein". "Therein" means: In what? In this situation, in this new contract there's a problem. So: "...therein in this new contract lies a problem", and this is a very common follow-up to the transition "therein". "...therein lies the problem". A very famous expression: "...therein lies the rub" from Shakespeare. "Aye, there's the rub." I'm not sure if you know that expression, I think from Hamlet, dream to... If you dream and you can die, it's all good, but then: Oh, there's a problem - you don't wake up. So: "...therein lies the rub". A very common expression to use with "lies". […]