World languages
|
|
|
Para los que aun creen que españa es el tercer mundo, os lo dedico
Last summer was a cruel one for the great emblems of Italian cinema. First, at the end of July, came the death of Michelangelo Antonioni, the great modernist director who electrified the art-house in the 60s and 70s. Then, on August 9, a fire broke out at Rome's legendary Cinecitta film studios, destroying about 35,000 sq ft of what had been the lynchpin of the nation's film industry since the 1930s. Italy's golden age was over. These twin losses, within the space of a fortnight, only served the highlight the fact. Decline is relative, of course, and the Italian industry is surely still regarded with envy by many other EU member states - Lithuania, say, or Luxembourg. It boasts a healthy output and an eclectic crop of distinctive directors, ranging from the icy Paolo Sorrentino to the clownish Roberto Benigni and the mercurial Nanni Moretti, who won the 2001 Palme d'Or for his family drama The Son's Room. It is simply that Italian film lacks the impact and the global reach that it enjoyed in the days of Rossellini, De Sica, Antonioni, Bertolucci and the Taviani brothers. To add insult to injury, the slide of Italian cinema has been mirrored by a rapid ascent for Spanish film. Both industries found themselves liberated, in part, by the end of fascist rule. The trouble was that Italy's freedom came earlier. The hardships of the post-war era were perversely the best thing that could have happened to Italian film. They brought an end to hide-bound, propaganda movies and paved the way for the rise of neorealism – a strain of deft social dramas, like Bicycle Thieves, that were shot on the cheap, in natural locations and reflected life as it was being lived on the ground. Spain's liberation came later, with the end of the Franco regime in 1975. Previously, awkward, uncompromising directors such as Luis Bunuel had found themselves exiled from their homeland. Now there was a place for them again. Over in Madrid, a former comic-book writer called Pedro Almodovar tapped into the mood of the time with a series of jubilant, sexually precocious and taboo-baiting works before going on to become a revered elder statesman courtesy of films such as Volver and All About My Mother. In the meantime, many actors who got their first breaks on Almodovar productions – Antonio Banderas, Penelope Cruz, Javier Bardem – are now installed as household names. But the current state of Spanish cinema is not down to one man alone. Crucially, the country's film industry appears to have benefited from globalisation, allowing it to access major export markets in Latin America and even the US, with its millions of Spanish speakers. Recent years have seen a vibrant cross-pollination with the Mexican film industry - most obviously seen with the Oscar-winning Pan's Labyrinth and the forthcoming The Orphanage - together an unprecedented rise in English-language Spanish productions such as Goya's Ghosts, Basic Instinct 2 and Alejandro Amenebar's The Others, starring Nicole Kidman as a harassed mother battling ghosts on the Channel Islands. All of which conspires to make Spanish cinema feel fresher, more vital, more outward-looking than its counterpart across the Mediterranean. Two decades ago, Italians bought twice as many cinema tickets as they did in Spain. Now the Spaniards have overtaken them. Italian cinema has a long and illustrious history, and now is not the time to start talking in terms of a decline and fall - we are not quite in Gibbon territory yet. But the industry gives the impression of being tired and scattered, struggling to find its voice. It sorely needs another neorealist-style renaissance - a local, specific flowering that speaks to the world at large. http://www.guardian.co.uk/world/2008/mar/08/italy.spain |
|
|
|
Cultura general
The situation in Spain could hardly be more different. Politics has been a deadly serious affair here for as long as anyone can remember. Or, just plain deadly. When Generalissimo Franco died in 1975, the country began a long and steady ascent from its ignominious role as a philistine fascist dictatorship into the strong and much respected democratic monarchy that it is today. There was much for architects to do. Entire cities, despised by Franco, such as Barcelona and Bilbao, had suffered decades of neglect and under-investment, while hundreds of miles of beautiful coastline had been despoiled by trashy tourist resorts and famously unfinished concrete hotels. From the 1980s, Barcelona became a showcase of how to revitalise a once magnificent city that had fallen on hard times. A lively new cultural scene, together with a sudden flux of superb bars, restaurants and nightclubs, was matched and mirrored by a thoroughgoing plan, led for many years by the architect Oriol Bohigas, to raise the design standards, and so lift the spirits, of the city's public plazas. Championed by the socialist mayor, Pasqual Maragall, who held office from 1982 to 1997, and was later elected president of the Generalitat de Catalunya, Barcelona became an international byword for successful "urban regeneration." And, for better or worse, Maragall and the experience of Barcelona in the 80s and 90s, are very much a part of the reason why London has an elected mayor and city assembly today. From the late 1970s, other Spanish cities came back to life, spurred on not just by a general sense of liberation, and new-found social, religious, legal and political freedoms, but by a huge, and generally intelligent, investment in public projects, notably in architecture and urban planning. Entire cities may have been transformed, and very much for the better, and yet any number of small towns began to build distinguished modern town halls, schools, libraries, museums, often on a small-scale, but to an exceptional, and critically acclaimed, quality. Here is one country you can visit today where you will find unabashed, yet small-scale, modern buildings complementing and enhancing the look and feel of age-old regional towns. Spanish architects, meanwhile, began to emerge on the global stage, among them the urbane Rafael Moneo, the spirited Santiago Calatrava and the outlandish Ricardo Bofill. A younger generation soon followed, with Enric Miralles and his Italian-born wife and business partner, Benedetta Tagliabue, invited to design the adventurous, costly and highly controversial Scottish Parliament building in Edinburgh, and Alejandro Zaera Polo, whose London-based practice, Foreign Office Architects, founded with his Iranian-born wife, Farshid Moussavi, made their name with the superb port authority terminal at Yokohama, which opened in 2002. Renaissances in architecture and design, occur when certain cultural and political fuses are lit; for a while these have gone out in Italy, although probably not forever. A week, as Harold Wilson once said, is a long time in politics (a very long time indeed in Italy) and anything can happen. In Spain, that fuse was lit when Franco died, and the cultural fireworks that have lit up Spanish towns and cities have yet to fall to Earth and into the mire of quixotic politics. http://arts.guardian.co.uk/art/architecture/story/0,,2262146,00.html#article_continue |
|
|
|
You can read more in
From Rome to Madrid http://www.guardian.co.uk/world/series/rometomadrid |
|
|
|
<< No here the only fanatic are you >>
You're the fanatic here. Spain hasn't overtaken Italy's per capita. According to http://en.wikipedia.org/wiki/Spain, GDP (PPP) 2006[2] estimate - Total $1.362 trillion (11th) - Per capita $33,700 (2007) (27th) GDP (nominal) 2006[3] estimate - Total $1.225 trillion (9th) - Per capita $31,471 (2007) (26th) But in http://en.wikipedia.org/wiki/List_of_countries_by_GDP_%28nominal%29_per_capita, Country Rank IMF Rank WB Rank CIA France 18 40,782 16 36,546 21 39,261 Italy 20 35,386 19 31,496 22 35,565 Spain 26 31,471 21 28,108 23 34,983 And in http://en.wikipedia.org/wiki/List_of_countries_by_GDP_%28PPP%29_per_capita Country Rank IMF Rank WB Rank CIA France 22 33,078 16 33,408 25 33,800 Italy 25 32,319 20 30,654 29 31,000 Spain 27 29,148 21 28,555 27 33,700 So how can Spain overtake Italy in per capita? The information in the article were purely lies and I believe that it was written by a Hispanic. |
|
|
|
<< Hasta la polla de estos hijos de puta >>
Va te faire foutre avec ta petite chiene, merde! |
|
|
|
<< No here the only fanatic are you >>
You're the fanatic here. Spain hasn't overtaken Italy's per capita. According to http://en.wikipedia.org/wiki/Spain, GDP (PPP) 2006[2] estimate - Total $1.362 trillion (11th) - Per capita $33,700 (2007) (27th) GDP (nominal) 2006[3] estimate - Total $1.225 trillion (9th) - Per capita $31,471 (2007) (26th) But in http://en.wikipedia.org/wiki/List_of_countries_by_GDP_%28nominal%29_per_capita, France Rank-18, IMF-40,782 Rank-16, WB-36,546 Rank-21, CIA-39,261 Italy Rank-20, IMF- 35,386 Rank-19, WB-31,496 Rank-22, CIA-35,565 Spain Rank-26, IMF-31,471 Rank-21, WB-28,108 Rank-23, CIA-34,983 And in http://en.wikipedia.org/wiki/List_of_countries_by_GDP_%28PPP%29_per_capita France Rank-22, IMF-33,078 Rank-16, 33,408 Rank-25, 33,800 Italy Rank-25, IMF-32,319 Rank-20, WB-30,654 Rank-29, CIA-31,000 Spain Rank-27, IMF-29,148 Rank-21, WB-28,555 Rank-27, CIA-33,700 So how can Spain overtake Italy in per capita? The information in the article were purely lies and I believe that it was written by a Hispanic. |
|
|
|
<<Va te faire foutre avec ta petite chiene, merde!>>
No need for that type of language, gentlemen. |
|
|
|
Para Guest
Me alegro que el frances se estudie en Egipto. Tambien se estudia ingles, aleman, italiano y español. En cualquier caso te recuerdo, que en Egipto realmente se habla arabe:) Respecto a Mauricio, tambien me alegro que se estudie frances en esta pequeña isla. Es realmente decisivo para el idioma frances que se siga hablando en este importante pais:) En cuanto a Filipinas, es obvio que el español alli es minoritario. No obstante, siempre lo ha sido alli. A pesar de ello, es hablado por unos 3 millones de personas en ese pais, segun el Instituto Cervantes, al igual que el criollo español se habla por unas 600.000 personas. Ademas, Gloria M. Arroyo, presidenta del pais, trata de relanzarlo y a partir de este año sera obligatorio en los colegios de Filipinas. Para los filipinos el español es muy facil ya que en su idioma, el Tagalo, hay miles de palabras que provienen del español. Para los habitantes de Guam o Marianas tambien es muy sencillo estudiar español, ya que hablan un criollo español, llamado chamorro. Las últimas estadísticas (2003) sobre idiomas dicen que de los 85 millones de filipinos, tan solamente 36,000 familias han adoptado el idioma inglés como su lengua del hogar. Y estas familias son de las ricas que forman la actual élite directora. Si cada familia filipina referida tiene un promedio de cinco miembros, son tan solamente un total de 180,000 mil filipinos, de los 85 millones, los que han adoptado el inglés como su primera lengua. En comparación, los filipinos que tienen el español como su primera lengua hasta ahora bien pudieran ser de un número mayor. http://www.geocities.com/Tokyo/Pagoda/7029/filip_2005.html Todo ello nos hace recordar que el ingles tampoco puede sacar pecho en Filipinas. El idioma que realmente unifica al pais es el Tagalo. En el resto de paises de Sudamerica, Mexico o España, es cierto que se hablan en mayor o menor medida otros idiomas, pero no ponen en peligro al español. Inventa otra cosa. El español, una lengua hablada por unos 500 millones de personas en todo el mundo, es un serio candidato a ser la segunda lengua del mundo, como puede serlo el frances, el aleman, el ruso o el italiano. Tambien deberiamos incluir al arabe o al chino. El tiempo dira cual es el ganador. |
