Basic Cantonese: A Grammar and Workbook by Karl Friedrich Siburg

By Karl Friedrich Siburg

Simple Cantonese introduces the necessities of Cantonese grammar in an easy and systematic approach. all of the 28 devices offers with a grammatical aspect and gives linked routines, devised to excellent conversation talents. specified consciousness is paid to subject matters which fluctuate from English and eu language buildings. good points contain: transparent, obtainable structure; full of life examples to demonstrate every one grammar aspect; complete key to workouts; and word list of grammatical phrases.

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By Karl Friedrich Siburg

Simple Cantonese introduces the necessities of Cantonese grammar in an easy and systematic approach. all of the 28 devices offers with a grammatical aspect and gives linked routines, devised to excellent conversation talents. specified consciousness is paid to subject matters which fluctuate from English and eu language buildings. good points contain: transparent, obtainable structure; full of life examples to demonstrate every one grammar aspect; complete key to workouts; and word list of grammatical phrases.

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During the painter's mountain stay and excursion (sometimes lasting over five years); the Chinese landscape is an environment re-created in its natural undistorted form and measure for the viewer to move in and about. But here we must ask: Why fragmentation in the cubist paintings? Is fragmentation the reflection of mechanistic reality? Why no fragmentation in classical Chinese paintings? Each rock, tree, or mountain is realistically alive. Is it the reflection of the Chinese aesthetic emphasis on the self-so-ness (tzu-jan, nature as it is), the rhythmic vitality of natural objects as they are?

Together with Remak and Etiemble, he tried to promote comparative studies of genetically unrelated literatures. The perils inherent in both schools are by now too obvious to need repetition. What I would like to say here is that comparison and contrast of models from their indigenous sources can easily bridge the gap between the two schools, for any discussion of a model must necessarily include both the historical morphology of the model and its aesthetic structuring activities. For example, if we compare the uses of perspective and temporal structure in cubist and in classical Chinese landscape < previous page page_21 If you like this book, buy it!

On what level, one may perhaps ask, and in what manner does the flight and quest in Ch'ü Yüan's Li-sao resemble the epistemological search of the Romantic poet, in spite of the fact that there is no metaphysical leap of the Romantic kind in Ch'ü Yüan? How do these quests and searches condition the syllogistical progression of both poetries? It is with awareness of this kind that the comparatist can find sounder and more workable points of departure from a model or models. Indeed, the application of stylistic markers of a genre, movement, or period of one culture to the works of another is a very delicate matter.

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