7 abr. 2018

Harry Potter (Collezione in italiano) [PDF]


  • Harry Potter e la pietra filosofale 
  • Harry Potter e la camera dei segreti 
  • Harry Potter e il prigioniero di Azkaban 
  • Harry Potter e il calice di fuoco 
  • Harry Potter e l'Ordine della Fenice 
  • Harry Potter e il principe mezzosangue 
  • Harry Potter e i Doni della Morte 
  • Le fiabe di Beda il Bardo
Peso: 10 MB

29 mar. 2018

Susanna Nocchi - Grammatica Pratica Della Lingua Italiana (2002) [PDF]

«La “grammatica della Nocchi” si è affermata nel panorama dell’insegnamento dell’italiano per stranieri come uno degli strumenti più apprezzati da insegnanti e studenti per esercitare la grammatica italiana in modo completo ed efficace.

Il suo successo si deve:
  • alla presentazione chiara e sintetica delle regole attraverso schede grammaticali essenziali ed immediatamente comprensibili;
  • ad esercizi agili e graduati, che permettono di verificare subito e con efficacia le conoscenze acquisite;
  • all’attenzione riservata alle forme più utili e frequenti, in contatto diretto con una lingua pratica, autentica, di immediata utilizzazione.

Per andare incontro alle esigenze di insegnanti e studenti, questa edizione aggiornata è stata arricchita con nuovi esercizi, schemi grammaticali, test a puntie riquadri con curiosità linguistiche e suggerimenti per l’autoapprendimento. Infine, si presenta più nuova che mai, con una veste grafica rinnovata etotalmente a colori.» (Fonte)

Peso: 18 MB

30 ene. 2018

Arca - Stretch 2 (2012) [MP3 V0]

«Arca doesn't want to make you dance. He'd rather watch you squirm, which is precisely what his contorted, writhing beats do. He's an artist that sounds distinctly uncomfortable in his own skin, every sound coming out in a warped, hellish gasp. At some level he's a hip-hop producer, but his shapeshifting illusions occasionally assume the forms of something resembling garage. Stretch 2 is his second effort for UNO NYC (home to the similarly ghoulish Gobby) and though it contains nothing as creepy as the first Stretch's "Ass Swung Low" (which recalled Aphex Twin's "Come to Daddy" with its deeply disturbing aural and visual content), it's a much more confident release that turns his blackened world of sound from impenetrable to frighteningly immersive.

Opener "Self Defense" is a good harbinger for what you're getting yourself into. What sounds like a mangled didgeridoo is formed into a dissolving chord structure assaulted by lagging breakbeats, as Arca's pitched-down murmurs chatter below. And of course, the whole thing momentarily dissolves into a frantic clatter, as if Arca's grabbing the track by the sides and shaking it furiously. The silty time-delay rhythms and uncomfortable swing arcs that are the blueprint of much of Stretch 2 recall early Downliners Sekt plunged in prehistoric mud and a healthy dollop of existential angst. What are presumably his own vocals are peppered throughout the record, sometimes (unsettlingly) legible but more often spitting out hissing hymns to god-knows-what.

Arca's music is fueled by tension more than anything else—it's the way the whispering winds sweep piercingly through the lurch of "Tapped In" that makes it so eerie, rather than the sounds themselves. Though his playful hip-hop vignettes are nice little curios, the album's real eye-openers are when he stretches out, and mostly come after the album's sent you through its hall of mirrors of mainstream rap appropriation. There's a hint of it on "Strung," where an uplifting, pseudo-gospel melody is suppressed and sent through the underbelly of the track, a glimpse of colour in a world defined entirely by black.

But it's "Brokeup" where things really get interesting—a mutated rave synth (think Lone) blurts and distorts all over the track, like it's losing blood with each gasp before its subsumed entirely into "Meditation," Arca's most beautifully tortured production. Here, he uses delay and harsh panning effects to create a track in bleary double-vision, breathtaking in its drama yet never quite focused enough to harbour anything more than creepy ambiguity. It's finished off with the slightly sunnier New Age tones of "Manners," like Teebs having a bad day. These moments of strange, abject prettiness come late in an album whose sole goal seems to be to engender discomfort, a mutable aesthetic that can prove flimsy as often as it can impress. Above all, though, Stretch 2 is a mood record, unforgivingly dark and antisocial.» (Source)

01. Self Defense
02. Fortune
03. Maiden Voyage
04. 2 Blunted
05. Tapped In
06. Strung
07. Brokeup
08. Meditation
09. Manners

Size: 52 MB

Funky - Funkytown (2002) [MP3 128]

01. Ready
02. Quiero darte gracias
03. Después de la caída (con Vico C y René Gonzalez)
04. Desde Funkytown
05. Especie en Peligro
06. Dale la Mano
07. Come 2 the danza
08. El Camino (con Triple Seven)
09. Al Ataque
10. Desde Funkytown Remix

(Esperar 5 segundos y hacer clic en Quitar Publicidad)
Tamaño: 38 MB

28 ene. 2018

What is theme and rheme?

If you read the following sentences, what would you say is the difference between the two of them?

  1. Chris Rock tells a really fun joke.
  2. A really fun joke is told by Chris Rock.

The first thing that you will notice is that, one is in active voice and the other one is in passive voice, this does not change the meaning of the sentences since both are talking about the same thing, however in sentence number 1 the focus is on the agent while in number 2 the focus is on the action. Now, if you look closer, you will also notice that from the beginning of the clause your attention is being drawn to something which is the Theme, and it indicates what is being talked about in the clause. The rest of it is known as the Rheme. Take a look at the examples again:
  1. Chris Rock told a really fun joke.
  2. A really fun joke was told by Chris Rock.
As we see, in sentence number 1 the attention is on the comedian Chris Rock, whereas in the second one the attention is on the joke. But, how about if we add one more word to the sentences.

      3. Yesterday, Chris Rock told a really fun joke.
      4. Yesterday, a really fun joke was told by Chris Rock.

Now you can notice that the Theme changed in both cases, regardless of the fact that they are in different voices. In sentences number 3 and 4 the attention is no more on Chris Rock or the joke, is it on the time.

According to Halliday and Matthiessen (2014) the Theme «is the element which serves as the point of departure of the message» (p. 89) and the Rheme is the «remainder of the message, the part in which the Theme is developed» (p. 89), that means that whatever is put first, acquires thematic prominence. Considering this, we can study or identify the writer’s intention by analyzing their use of Theme; this gives us an idea on what the writer wants you to focus in. Let us look at another example from Franz Kafka’s The Metamorphosis:
  1. « When Gregor Samsa awoke one morning from troubled dreams he found himself transformed in his bed into a monstrous insect. » (Kafka, 1999)
  2. (modified) Transformed in his bed into a monstrous insect Gregor Samsa awoke one morning from troubled dreams.

In the original, Kafka wants us to pay attention to Gregor the human and not in the fact that he had transformed into an insect. This is important since in the novel, the author never explains the reason of his transformation; on the contrary, we see that according to the events Gregor appeared not to deserve his fate. Now, in the modified sentence our attention is drawn to Gregor’s transformation, this changes completely the tone of the message and of course the author’s intention.

With these examples, we can see that Theme is a system that allow us to guide the point of view of the reader into what we want them to focus in, by doing that we create the texture that provides cohesion to the text and that help us to communicate the message in a more effective way.


Halliday, M., & Matthiessen, C. M. (2014). An Introduction to Functional Grammar. London: Arnold, a member of the Hodder Headline Group.

Kafka, F. (1999). The Metamorphosis. Prague: Vitalis.

Miguel Riveros | CI: 20.123.187
Facultad de Humanidades y Educación
Universidad de los Andes
Mérida, VE - Marzo, 2017

5 ene. 2018

Un Solo Pueblo - La Música de Venezuela un Solo Pueblo (1990) [MP3 192]

01. El Festín
02. Guiria Canta
03. Macoklis Mango
04. El Hacha
05. Guaraña Gracitana
06. El Hojal
07. Reboliaito
08. Serenata
09. Mi Barquito Marinero

Tamaño 43 MB

2 ene. 2018

The Magnetic Power of Persuasion (Literary essay)

The idea of a conflict between humans and mutants has always raised questions like “Who are the good ones?” or “Which side would I choose?” As a matter of fact, since 1963 the X-Men have been related to social and political issues, where minorities like African-Americans in the USA and LGBT people around the world have suffered the consequences of racism and/or discrimination. “Since you have proclaimed Armageddon for homo sapiens and homo superior, it seems only fitting that you meet your chief adversary face to face” (Claremont, 1982: 54) says Magneto to Reverend William Stryker in X-Men: God Loves, Man Kills, a graphic novel written and published on 1982 by Chris Claremont. In this novel, Magneto joins the X-Men to fight against Reverend William Stryker and to avoid the extermination of “mutantkind.” Regardless of this, Magneto’s actions and thoughts have always been questioned by the very same X-Men for going too far from their beliefs. In God Loves, Man Kills Magneto uses rhetorical devices to justify himself.

Rhetorical devices are tools for persuasion, they allow the speaker to convince -or try to convince- an audience, that what it is been said is true. The most important rhetorical devices are: ethos (appeals to trust or credibility), logos (appeals to logic), and pathos (appeals to emotions). When the X-Men start to struggle on a fight with the purifiers -Reverend William Stryker’s henchmen- Magneto intervenes and says “Sheathe your claws, Wolverine. Magneto is here a friend… …and, if you’ll have me, an ally” (Claremont, 1982: 25-26). In this example, the Master of Magnetism is trying to gain trust from the X-Men presenting himself as a “friend,” despite the fact that they are frightened by his presence, this is an example of ethos. Later in the novel Magneto comes to help the X-Men again, rescuing a man that was threatened by the purifiers. After being saved, the guy asks “Who… were those guys? Hell, who are you?! Why were they after the kid?” (Claremont, 1982: 44), Magneto answers “I am Magneto. My companions, X-Men. We are mutants. As for reasons, you’d best ask the man those assassins are sworn to serve… ….Reverend William Stryker” (Claremont, 1982: 44). This time the Master of Magnetism presents himself and the X-Men emphasizing that they are mutants; he is showing reliability and trustiness to the human. On the other side, he identifies the purifiers as “assassins” and links them to a recognizable face, Reverend William Stryker, giving him total responsibility of the prior situation they just lived. Magneto clearly used ethos to avoid being seen as a foe and to identify the purifiers as the enemy.

Then, in another scene, a discussion is set between Magneto and Cyclops, “Considering our past association, your reaction is understandable. I am not your enemy, X-Men, nor do I consider you mine. True, my goal has ever been the conquest of earth – but solely to create a world where our race homo superior, can live in peace” (Claremont, 1982: 50) says Magneto, again he is showing trustiness to the X-Men by emphasizing that he is not an enemy, this is another example of him using ethos to gain credibility. “Is your way any better? A mutant dictatorship?” (Claremont, 1982: 50) asks Cyclops, to which Magneto answers “Do not take that tone with me, boy. I have lived under a dictatorship… …and seen my family butchered by its servants. When I rule, it will be for the betterment of all” (Claremont, 1982: 50). Here, he switched from ethos to pathos, possibly because of the nature of the discussion; he needed to appeal to something more powerful than just trust or credibility, therefore he took his tragic past and used it to reinforce his statements.

The effect of Magneto’s rhetoric can only be found after the fight ended. “A phyrric victory, X-Men, whose hollowness… …Is even now becoming apparent. The man was beaten. His cause lives on. Already, it’s being said that Stryker’s goal was right, only his methods flawed. No matter how hard you try, you cannot truly win” (Claremont, 1982: 63) states Magneto. As for this Charles Xavier answers “I fear, old friend… …you are correct” (Claremont, 1982: 63). Coming from a character well known for being reasonable and thoughtful, it is noticeable that Magneto’s use of rhetoric was effective, even though Professor X changed his mind later.

Magneto and the X-Men have dissimilar thoughts regarding the conflict among mutants and humans. In this novel, he approached the X-Men as an ally using ethos to convince them that he is not a threat, he does this again after saving a human from being killed by the purifiers. In another scene a discussion is set between him and Cyclops, he used ethos and pathos to validate his arguments. Finally, we see the effects of his rhetoric when Charles expresses sympathy with his points of view. What we can understand is that Magneto needs to persuade the X-Men since alone he would not succeed on his campaign to try to conquer the world, and because they represent a menace to him. The best tool he has is speech as it is the most effective way by which he can convince others to join his cause, and by which he can avoid being seen as an adversary.


Claremont, C. (1982). X-Men: God Loves, Man Kills. New York: The Marvel Comics Group.

Sproat, E., Driscoll, D., & Brizee, A. (2012). Aristotle's Rhetorical Situation. Retrieved from Purdue OWL: https://owl.english.purdue.edu/owl/resource/625/03/

Miguel Riveros | CI: 20.123.187
Facultad de Humanidades y Educación
Universidad de los Andes
Mérida, VE - Marzo, 2017