Diagram Of Car Accident

Without words

am a professor of mathematics and science in this school less and less public. I read and hear opinions on the daily circus built on nothing, uninformed judgments about students ("more ignorant"), young ("careless, fall back on their 'interest', while we, in our times, or, by choice," violent, able only to destroy ... "), teachers (" uneducated ", idle, do the bare minimum, unprofessional ... ah, yes," have three months of vacation and work eighteen hours a week, those! "). Subisco shoot ministerial increasingly tangential to the real problems of education and culture and envy little thoughts of right-wing press. Sometimes I am tempted to publish a post that articolatissimo documented and clear away the tuttequeste (false) banality. Then, the despair, anger, boredom of hearing the same old people (me included) the usual speeches, and I give precedence. So the reader, well that goes a handful of people who already think like me.

This, then, is not a well documented post, just a bunch of impressions, observations and news which probably connected the right way would help to form a picture. I'm happy to make it available, maybe sooner or later he found the taste of ricoporre this mosaic.
1) My students di prima media (e non solo) non sono in grado di disegnare le mediane e/o le altezze di un triangolo di cartoncino. "Nemmeno io" direbbero molti adulti. Certo, detto così pare difficile. Ma si tratta semplicemente di fare un triangolo in cartone e di tracciare tre righe che dai vertici raggiungano la metà del lato opposto o che formino angoli retti con quel lato. Suona già più facile, vero? Ho proposto questi esercizi dopo aver fornito definizioni, esempi alla lavagna, aver dettato le istruzioni (la ricetta, insomma) e guardato più volte insieme a loro le figure del libro. Risultati patetici: le perpendicolari formavano angoli di ogni genere meno che retti, le mediane dividevano i lati in parti vistosamente ineguali. Dopo essere passata tra i banchi stile maestrina con la penna rossa e aver commentato e corretto i maledetti triangolini, ho invitato i ragazzi a rifare l'esercizio e ho ottenuto… risultati fotocopia dei precedenti. Come se non avessi parlato.

2) La mia collega di lettere ha letto con gli alunni della mia classe seconda una paragrafo introduttivo di storia. Dieci righe che non comunicavano informazioni nuove, si limitavano a riassumere osservazioni del capitolo precedente. Le parole di significato ignoto alla stragrande maggioranza della classe erano più di una per riga. A non conoscerle, oltre ai ragazzi di madrelingua non italiana erano italiani veraci. Da studi ormai già antichi, se un breve capitolo contiene più di cinque parole veicolanti significati NUOVI the pupil does not include the more general meaning of the text. In these ten lines were not new concepts ...

3) Students in high school where I teach in the area (outskirts of Turin), according to some of their teachers, do not identify the cause-effect, and they're doing wrong with the time orientation (which event came first , in which century, before or after Christ?) Yet these relations are targets of educational activities targeted since kindergarten ...

4) The number of students with learning (specific learning disabilities such as dyslexia, dyscalculia, severe difficulties of logical order) has substantially increased, such a class. "Oh Okay. 'It's disabled students (disabled already defined, and before that, carriers of hc) ..." you say. No, they're just people who have ASD but obtained average scores "normal" in a number of specific tests that the layman would call "intelligence." Once they were a very low percentage. Maybe once went undiagnosed. Perhaps they were listed as disabled. Maybe today is much less expensive to classify DSA (for them there are no support teachers so they do not cost a penny to the state) and allow the full cost of the class teachers. Perhaps, instead, something - in the past experiences of these young people - made them more vulnerable to this kind of noise.

5) It seems, from recent studies that there is a close link between disorders such as dyslexia, lack of logic and so on. and lack of experience manuals, (we would say to implement them), children in preschool. As if to say that if they did not play with the earth, messed with pebbles, cardstock, glue, build things with blocks and Lego, then they will miss a fundamental quid.

Now, I do not make illusions about neither me nor my colleagues on. I have known, in the many years spent teaching, insensitive and incompetent teachers, people who, like many others who do different jobs, he pulls a living. But I also met many, very many, teachers who give their souls for how to improve teaching. Following courses (including too many unnecessary courses, "you never know"), participating in projects, discuss methods, results and ways to evaluate with other colleagues. In my school a large number of teachers is currently involved in such activities. As I said the other night, in despair: we (the majority of us, at least) IS ALWAYS BETTER to teach. On the other hand doing the same job for decades, almost all or at least improve a bit '. And then there are the "young". It may seem incredible, but there are young graduates who choose to teach. They do not accept the job as a fallback, they would do it well. Of course, thanks to Forbes Tremonti Gelmini and the cat's paw of many loro sono stati buttati fuori dalla scuola, ma posso dire con soddisfazione che qualcuno resiste. Esiste, anzi. Così, mediamente noi miglioriamo.
Ma loro, gli alunni, continuano a "PEGGIORARE".
Vorrei illudermi che sia soltanto la mia ottica distorta di insegnante veterana a crederlo.
Ma temo che non sia così.

Ftv Gals With Animals

Contributions to "let emotion" theme illusion


FAILURE WARNING (dedicated to those many children for whom childcare is an illusion)

Children of a gamble with the fate of a challenge


Harvest of a field
arid desert where
no grass grows where
a dream fades


sick children of a seed placed on a lawn and then abandoned

Children
nothing but slaves to masters of life and endless sense of things and the world

Children of a senseless acts
injuries exacerbated by fate
young trees with the roots torn
struggling with the wind
want to bend with the fallen leaves that are left treading


Cries of moments buried in anxiety buii
Tears swallowed the bitter experience of a misunderstanding


Helpless
shapes that lie in their clandestine
legitimate innocence


all this over there and your father, if still not Watch now knew the


crushed in those eyes and listen to the crying.

monilù


.... illusion is when you think of building anything and not have the courage to live it to the end.

Franca

Isuzu 1.7 Diesel Pump

REVLab


ENTRIES OPEN TO CYCLE LABORATORY REV "evolutionary routes"

2010-2011 programming Cagliari

chakra energies
October 23, 2010 16:00 to 19:30 hours
journey through the chakra energy system (perception, stimulation techniques and rebalancing the body's seven energy centers).

BREATH IN THE ROOT
November 13 16:00 to 19:30 hours
Strengthen stability and strengthen the foundations. Meeting with the demon chakra connected to 1: fear. Find out what kind of fear from us, integrate and transform. Energy release and reloading heavy energy. Exploring the identity matrix.

POLARITY OF THE DANCE 'AT 4:00 p.m. to 7:30 p.m. November 27
the message water the element of chakra sacral (2nd chakra), shows us the transition from the moment we have consolidated our bases at the beginning of a process fluid creative movement, when we feel safe and ready to "meet" the other . From generation to the survival of life in a dance of continuity, evolution, adaptation and change. Emotions such as restless water games, we burst inside, in the belly, reminding us that we can feel and think with our 2nd brain: the gut. Meet the shadow of this chakra, the guilt, to accept it and let it go. Finally, take that feeling of dynamic balance, abandoning the duality without rigidity, flowing in a state of harmonious balance, existing here and now.

in my power
December 11 16:00 to 19:30 hours
make the change in accordance with the will and found that the personnel strength of the intent is the basic energy that gives us the immeasurable power of our uniqueness. The man who recognized if 'also differentiated from the rest of nature, it remains a separate hostage to fear, forgetting that power is not necessarily abuse.

fee for each session is 30 €

meetings will be held at the Chambers BIOM Alziator V., 23 Cagliari
info e prenotazioni 3939327109 studiobiom@gmail.com

Is The Cervix High Or Low When Pregnant

ecological virtuosity only housewives / i? 3 de

Sto sfogliando un libretto dal titolo promettente: Come salvare il mondo in 200 piccole mosse (Robert Hamilton, pp.106, leggere editore, euro 10.00): due consigli ecologici per pagina, ognuno illustrato da una vignetta.
Magro e troppo caro, "l'agile libro" dispensa consigli che vanno dal sacrosanto (Buy detergents on tap you do not waste plastic containers), the obvious (turn off the water while brushing your teeth or while shaving in the shower), the dull-impractical (plant a tree to celebrate the birth of a child , and where? nell'inesistente common garden? in open countryside, on land not yours? in a forest, just on the roots of another tree?), the surreal (check that your dog's flea collar is made of ecological materials) . Some suggestions are repeated, others are difficult to put into practice: optimizing air routes (not wipe up the heavens have already visited the same flight) will also reduce the journey to be made and therefore emissions of carbon dioxide, but how do I recognize "companies that adhere to this philosophy?
The exhortations that really annoy me, however, are those like: "nothing is as good as home made food", then you produce in house ... literally everything: bread, pasta, jams, beer, soap, termicidi natural detergents floor made of white vinegar, baking soda and alcohol also choose consciously, carefully reading all labels on any product purchased at the supermarket, take the foam and the energy-efficient lamps in the relevant collection points, leave the change of tires car tire that the only environmentally and recycle fabled street.
Question: But in a family like mine (two adults working and a daughter who attends the last year of high school), who will assume the task of putting into practice all these wise counsel spending the morning to inspect the products in the supermarket, the lunch break to give the designated waste products polluting the AMIAT not even dream of collecting bins in accessible and dedicated the afternoon to cook delicious food and environmental (of course turning off the oven a bit 'first cooking not to waste energy and by placing these foods in the refrigerator after only that have already cooled to room temperature) and weekends at home to produce detergents, soaps and beers and to clean the carpets with baking soda instead of the hated chemicals?
I do not want to accuse Mr. Hamilton of sexism and hypothesize that it is the usual housewife. Certainly the author has thought of a generic human house, male or female. The problem is that we, your family, the human us know we still have to provide. I want to propose to his spouse and daughter to take, or better yet to marry, a man of proven domestic virtues which entrust the salvation of our animaccia label. I do not know how we can keep it with the loss of purchasing power of wages and my spouse. We hope to be satisfied.
way, to capture this ecoumano need a wedding collective, or just declare a de facto union? And for the household, how are we going?

Excuse the outburst, I too would like to be ecovirtuosa, but not at the price of my work (and my salary)

Arc Saber 10 Version Ch

2010-2011 2010-2011 programming activities


aperte le iscrizioni ai corsi settimanali REV tutti i martedì e giovedì nei seguenti orari:
mattino 10.30-11.30/sera 19.00-20.00
dove: studio Biom V.Alziator, 23 Cagliari
mensile 40€ + 15€ d'iscrizione

* tenete d'occhio le interessanti promozioni sui programmi benessere che includono anche le sessioni REV che lo studio BIOM di Cagliari sta proponendo e che potete visionare sul sito http://biom.jimdo.com.
si può venire a provare il metodo gratuitamente previa prenotazione via e.mail o al 3939327109

presto verrà pubblicato REVLab of the calendar.

Lic Bima Gold Surender Value

The illusion is the theme of September


After a well-deserved summer break we're back to resume the threads of our lives and return to everyday life with a touch of fatigue, of course, inherent in the last summer that tail trailing lazily fall meeting . A glimmer of sadness marks this time of year, perfectly in tune to the theme of the month the project "let emotion" that will launch from now. The space is yours.

Cake Boss Recipes For Fondant

/ write

Let's talk about 'the description now. The following are reflections scattered, leaving, however, from the very beginning, the most obvious questions.

is essential to describe a character?

might as well ask whether it is necessary to have a character. To write a story usually necessary, saddled with someone. Otherwise there is a story, but a (more or less long) report of anxiety.

course we must agree on the term "character". In ancient times the characters were not always characterized as such, but described by one of their passions or dominant characteristics: The Wrath of Achilles, cunning Odysseus' curiosity and so on. Yet Achilles and Odysseus were really characters, not only types. Why? Because they were essentially grandly human.

first conclusion: it takes to write a story that needs a bit like a character that we can understand (identify with him / dislike / despise ...). In short, enough to arouse emotions.

is essential to give him a name?

No. BU writers have avoided naming their character. We can consciously (and very ambitious ...) decide to shut its name because it represents the human condition Or because we want to create mystery or sense of distance, preventing the reader to enter into intimacy with him. We can also provide a nickname, a pseudonym, call Green Hat, The great Lombard (as Vittorini) and so on. We can not use the name because the narrator and the character are already too close (for example if the character and the narrator are the same, or if the character is the only object of attention of the narrator). Or because a character has only the role of listener, as in the epistolary novel, as does De La Mare in Memoirs of a Midget ( My dear friend ... and down three hundred - magnificent - often a letter).

However, if you consciously decide to give a name to the character, let us remember that the name is not an accident in fiction, is not neutral, but is part of:

When he awoke, Gregor Samsa Gregor not only exists ... it has a name and austere ordinary sets, the name just to make credible the transformation of an obscure clerk in the name cockroach ... Gregor adequate to ensure that, with that name, is not the type to go and look for a strange destiny so incredible that he could become a Scarafia happen to everyone. In addition, of course, nothing other than him, Gregor. But Kafka would get the same result this way: When he awoke, Arcimboldus de Ferlecchis ...?

Keep in mind, however, that a person baptized Fardezio Mud ( underline solitary Bosonetto M., Einaudi), declared the intention to look at it from above and allows readers to identify with completely. The character, in short, no longer has complete autonomy. And processing.

Description direct

Adele was a girl of twelve, tall and thin, with blond hair, and wore only tracksuits. He arrived late to school forever. His father, an engineer with a passion for reading, had grown in her curiosity and sense of observation ...

In the twentieth century (and the twenty-first), this type of description does not use and dusted off when it is still used in particular way. Also De La Mare, for example, in the text ... describes in detail the character to emphasize the indefinable strangeness and eerie bond created between him and the narrator.

Descrizione indiretta

L’Adele di allora dava l’impressione di riuscire a bucare con i gomiti e le ginocchia la tuta rossa da ginnastica e di inciampare nei piedi troppo lunghi. Correva sempre, la treccia bionda che sbatteva sulle spalle e una pila di libri e quaderni con la copertina gialla sotto il braccio. A suola la rimproveravano spesso per i troppi ritardi, ma Adele non perdeva tempo, semplicemente di fermava ad ascoltare e a guardare.

Così di Adele ne sappiamo decisamente di più: le piacciono il rosso e il giallo, probabilmente si sente goffa, riceve spesso sgridate ottuse che non merita. È capace, nonostante sia sempre affannata, to stop to contemplate the world.

NB In a story, the importance of calibrating a description is even better: If you have a novel in two hundred pages of time to describe the character in a story mean you have ten, fifteen. And you can not bury the poor reader in an avalanche of adjectives fussy.

Where is the narrator?

When the narrator describes, which arises in relation to his character?

The beautiful Iset froze a few feet from Rameses. He, his first and only love, continued to impress. It was too big for her, Iset would never be able to grasp the breadth of his thought. But the magic of passion quell'insuperabile filled moat ( C. Jacq.)

No doubt, Ramses is seen from bottom to top . Honestly, the song makes me sick, but he shows with undeniable clarity that Iset is in love and afraid of Ramses and Rameses sees far, think big, conceive designs that she, poor thing, not even want to imagine (or, take your pick, which is Iset a bit 'silly, Jacq Ramses a balloon and a pedestrian writer, conservative and male).

Fardezio Mud struggled to impose order on the pages of his manuscript, five decades of efforts aimed at remain in the bottom drawer of his desk. Finally, the page you agree to stay, at least temporarily, in their place, one behind the other second number. But Fardezio no illusions: it had only signed a truce.

Even this sucks, I know. It is not Bosonetto, which I apologize. It is mine. Writing it, I peered down Ferdezio , condescendingly, I described the pathetic loser in his struggle with the objects and the fate (and I felt brilliant, modestly). And I have given this order subliminal: not open that drawer. So the fifty pounds of Fardezio think are a bunch of shit.

Verchoyle Paddy was a man who had hands-on business in half a dozen, most profitable and which would still be improved over time. Paddy was the kind of person. He himself was a bit 'artisan, and he did not like having to deal with second-rate material: fought like a fury with those who sought to foist inferior merchandise. Could have been even richer but at the same time would also have been poorer, and at the time was certainly not making it. (Frank O'Connor Telling Sellerio).

Here the character is seen next, at par, with interest and participation, ma non con parzialità. Paddy non è uno stinco di santo, non gli piace passare per scemo, ma non è troppo avido. Insomma è una persona come tante che potrebbe anche risultare simpatica e sorprendete. (e infatti lo è). La visione di fianco è senz’altro più promettente, quella che rivela di più e che maggiormente intriga il lettore. I personaggi visti di fianco possono essere anche meschini ed egoisti, ma essendo molto umani non risultano mai completamente odiosi e estranei. ( Per inciso, sono quelli che più ci aiutano a sviluppare l’empatia).

Dentro!

Il narratore, però, può essere all'interno , ovvero portare il lettore in the mind of the character. The narrative point of view may be that of the omniscient narrator (NO), the indirect free (IL), the first person (IO). However, the character not only know each other directly and not so much the physical features, but also the thoughts, emotions, often made with the technique of interior monologue (MI). It's the way I best suited to describe an important person, the reader must accept, sympathize, which can be identified while it is too expensive for a character

God is in the details?

Probably yes, at least when dealing with literature. Phrases such as "Carmen sits on the chair." can sounds obvious (and where he could sit, poor Carmen, in the air?) or be illuminating (there are five comfortable chairs in the room, and the reader knows. But Carmen has chosen the only chair ...). So we are careful, we should ask whether the detail that we have described is necessary, useful or superfluous, not placed there to cut the sentence to give it a naturalism obvious.

In a strict naturalism is a narrative dead end. In a work strictly naturalistic detail is present because inherent to life, not because inherent in the work [...] The art is selective and the truth is the truth of the essential that creates movement. (Flannery O'Connor, The devil's territory )

If Carmen chooses the chair instead of a chair, will have their reasons. Maybe he wants to punish himself, or perhaps refuses to relax and want to stay on guard. Or perhaps the chair is placed in front of the window and Carmen absolutely must see what happens in the street. Or maybe ... If you do not know why Carmen has to sit "on the chair" and not simply "sit", perhaps we'd better put down the pen, or remove your fingers from the keyboard and wait until our vision of Carmen, sitting there, There is no longer accurate.

way, I always thought the territory Devil's as to the place of mind in which the reader may not want to go, but where he intends to take the honest narrator, who feels the need to tell a story talking about us (the people) and not of himself, and say something that is worth reading. Tomorrow.

Need Ideas For Dinner Served With Coconut Shrimp

drops of your poem about "change" La Danza del Fuego


"Souls of passage
crossing
seasons of existence that hopelessly dumb."

(Giorgia '75)

" Mutare, abbandonandosi alla corrente.
Se sono ancora qui
È per ogni volta che sono rimasta senza respiro (quasi tutta la vita)
e per quei rari attimi in cui infine ho compreso
quanto possa essere magnifico respirare

ed ancora
perché non riesco a lavare via
quel senso di tragicità struggente che mi attraversa
nonostante le mie costanti abluzioni
nel mio sacro ruscello immaginario(?)
alle cui acque segrete ogni sera mi affido

sono ancora qui ma così stanca
e in attesa che la magia del crepuscolo
possa concedermi di realizzare
l’unico desiderio in fondo rimastomi:
to abandon forever its course
without having to understand the reasons
no longer keep pace with the continuous and impulsive

and yield while even the last
levees that hold the restless river of thoughts and emotions
the relentless rushing through my
I finally feel

inside my soul slipping away from the current dragged

leaving to join, always by my Spirit
prisoner of an eternal dream of freedom

... no return. ... No regrets ... immersed in the love that is fulfills ...

maybe leaving behind
only the echo of a loud laugh. "

(monilù)

"... change is to be aware that something is changing, experience the transformation in exciting and engaging without being overwhelmed by the change itself."

(France)


"Only superficial people take years to get rid of an emotion. Who is master of himself can put an end to suffering with the same ease with which he invents a pleasure. I do not want to be at the mercy of my emotions. I want to serve, enjoy them and overcome them. " -Dorian Gray-

Anna '68

When no longer part of me will clip your little memory in little stars and the sky is so beautiful that the whole world will love the night! "Romeo and Juliet

(Valentina)

" There is nothing immutable, but the need for change "Heraclitus
(philosopher)

(Stephen)

" It is not the species sopravvvivere strong, nor the most intelligent but the species that respond better to changing "
Charles Darwin (biologist, geologist, zoologist and botanist British

(Salvo)

" A man who claims to never change an opinion that is committed to always walk in a straight line, an idiot who believes in the infallibility.
In fact, there are no principles, there are only events, no leggi, ci sono soltanto circostanze: l'uomo superiore sposa gli avvenimenti e le circostanze per guidarli."
Johann Wolfgang Goethe (poeta)

Terry

"Viviamo di solito nell'abitudine, con il nostro essere ridotto al minimo.
Le nostre facoltà restano addormentate, riposando sui guanciali dell'abitudine: essa sa quel che c’è da fare e non ha bisogno di loro"
Marcel Proust (scrittore)

Eva "73

Un grazie dal profondo a tutti voi, verrete contattati al più presto per l'assegnazione dei premi.

Women Genitalia Gallery

2. Systematic Dialogus Dialogus

Open a little 'book (or maybe browse a bit' of your writing) and try to divide the dialogues into categories. To begin with we hypothesize three, but taking into account that any division admits all possible intermediate varieties or gradations (ever seen two birds are exactly alike?)

1.Dialogo instrumental or informant.
2.Dialogo staff or forming.
3.Dialogo play / screenplay

Regarding the first two categories, the distinction is given in relation to the function of dialogue in the text. Informant fulfills mainly to alert, inform the reader of events that took place off stage. It is not a dialogue according to the dictionary definition of rhetoric, but a narrative form where the characters have replaced the omniscient narrator in making the reader aware of the facts essential to reading. The more pedestrian version of the dialog informing you that adopted by many science fiction writers of the forties Technology:

- as I am sure you will recall, Professor Heinechen - Johnny Karlsberg intervened - the disassembler ellissocardanico was invented in 2030 to defeat the evil-Bau Wow. It works on the principle of molecular breakdown inducible in a field elliptical through an energy cannon mounted on a gimbal ...

Professor. Heinechen knows what the disassembler ellissocardanico, when it was invented and how it works (even if it had a bit 'of autonomy instead of being a dummy character, he would know also that the pistolotto Johnny Karlsberg is absurd). But the reader, Boeotian and ignorant, must be informed in detail on the weapon.

Today, thanks to the patron god of readers, this kind of dialogue is no longer used (or not?). But

are useful dialogues like the following:

- We, has begun. - Rob announces entering a precipice in the study of Magda. - People really can not anymore. He is gathering in front of supermarkets and shopping centers, just as Henry provided the other night.
- The other month, after yet another increase in gasoline she, did casino - Magda continues to decorate the leather bag lady commissioned by Biamonti, - but then swallowed it all, as usual.
- Yes, but this time is different. At SMS wide Savoy broke through the turnstiles e razziato gli scaffali.
– Gesto isolato di pochi facinorosi – Magda sorride storto e imita alla perfezione il tono saccente dello spaccianotizie della Mediamed.
– No, è proprio cominciata. Sono disordini di piazza, non gesti isolati, non è escluso che facciano intervenire l’esercito.
– E chi lo dice che è cominciata?
– Mah. – Nel tono allarmato di Rob s'infila una sottile soddisfazione. – I tuoi occhi, per esempio… – Indica la finestra con un cenno discreto della mano.
Magda si alza di scatto, raggiunge la finestra, scosta la veneziana. Il primo blindato lince svolta dal viale e subito viene circondato da decine di persone a svolto scoperto. Per un attimo tutto tace, come congelato nel tempo, poi parte la prima molotov.

Scegliendo la parte del narratore onnisciente potevo evitarmi il dialogo, naturalmente:

Nel primo pomeriggio la folla si radunò, ben decisa a sfondare le saracinesche del Mall. Impazienti e rabbiosi, non riuscendo a spuntarla contro le chiusure di sicurezza, percorsero il grande viale urlando slogan, poi si sparsero nelle vie intorno, giungendo proprio sotto il laboratorio di Magda. Era gente comune, impiegati, pensionati, piccoli esercenti condannati alla chiusura dalla crisi. La collera per l’ingiustizia patita li sorreggeva: non indietreggiarono nemmeno di fronte al blindato lince inviato in segno di avvertimento su richiesta the mayor.

But immediately jumps to the eye (and ear) that the description is boring and ideological, while the dialogue creates a growing tension, it makes things happen live.

The third category is largely spurious and intended to indicate the dialogue here in which the incisors do not reveal the thoughts of the characters but their actions and attitudes and then they could be replaced with instructions of the scene (walking back and forth - it wrings his hands - continues to play with the unlit cigarette - embraces his friend supporting him ...).
The theater is essentially forming and informing only episodically. In this case, the category applies to the form-dialogue rather than to its meaning nel testo.

Ma è la seconda categoria a rappresentare il dialogo per eccellenza, quello in cui due personaggi, mossi da scopi diversi, comunicano influenzandosi vicendevolmente. Al termine del dialogo formante si dovrebbe poter affermare che i due hanno maturato una visione del mondo leggermente diversa da quella che avevano all’inizio. Parlando i due personaggi si svelano all’altro e a se stessi (e a chi legge). Proprio come accade nella vita reale, può accadere loro di scoprire il proprio pensiero parlando. Il dialogo formante permette di definire appieno i loro caratteri; non solo, costituisce una forma di azione e mette il lettore di fronte alla possibilità di schierarsi (con uno dei due) o di maturare sua volta un punto hybrid view.

I remember that during a meeting agitated student in high school, a courageous and consistent (now I can recognize) a professor of philosophy said, "we dialogue to uncover the truth." Then I thought the typical shot of a maverick teacher. I was wrong. That sentence led me patience and taught many times, while discussing with my daughter or my students. And often I am reminded as I write and I read. That's the time to become merciless or dialogue that I wrote is merely informing or must leave the characters (and me) a bit 'different from the beginning.
Or is useless, only serves to fill a page. Better delete it.

Beyond the categories of convenience, often effective dialogues are placed straddling the three categories, but at the same time forming informants, describing the psychology of dialogue partners and full of action and movement.

Questionnaire With Scoring Sheet

video

Dollar-offset-methode

1 - Who talks to whom? Recipe for writers

According to the sociologist Goffman any conversation has an inherent chance of failure, or may lack effective communication. The words, therefore, must be chosen carefully.

But we only have words.

First, on many occasions the words may be replaced by other signs (wink, five fingers raised, V for victory ...) as effective.

Secondly, in addition to the words and symbols used, numerous other elements (facial expressions, interjections, quotes, smiles, nods and denials) are the backbone of the box. We are so accustomed to use them (we primates are visual animals especially) to use continuously in SMS and e-mail to those pale imitations that are emoticons.

NB these essential elements of communication are an important part of so-called engraved narrative of the dialogue (but to be '! - Agata accompanied the invitation with a tongue.)

But what is the role of narrative dialogue?

aside for now what I will call the "dialogue of service," the only useful to outline actions and behaviors ("Pass me the hammer ',' Toh), the dialogue is a highly refined form of the narrative, in which two or most people use " an appropriate form to express different feelings and discuss opposing ideas." (Aa vv Dictionary of rhetoric and style, UTET)

Oversimplified, we stick with the first part of the definition, leaving the second in a more philosophical. Ma questo non è del tutto vero: pensiamo alla scena clou di un romanzo nel quale sia trattato un tema come la segregazione razziale. Il dialogo/confronto di idee, organizzate in ideologie, può costituire l’acme della vicenda e contemporaneamente svelare tantissimo dei vari personaggi; un dialogo del genere costituisce un elemento imprescindibile sia della descrizione sia dell’intreccio.

Ovviamente una simile scelta narrativa rischia di essere volta a convincere senza suscitare la reale partecipazione del lettore.

Trascuriamo il polpettone eroico/politico, almeno nella sua variante più ideologica e fermiamoci alla prima parte della definizione, quella sottolineata.

Il pregio delle definizioni very successful is to be vague in the right measure. Unquestionably, in a novel (and in most of the stories) the 'mixed feelings' are the basis for an effective and engaging narrative. This kind of comparison is called dialectic, at least for those who have put Marx (Hegel and his dad) in the attic ... I am here still attached. However

: conflicting views from which descend conducted divergent are the basis of everything. Try to write a novel in which everyone thinks the same way and make the same choices!

Perhaps it would be an interesting attempt by the experimental point of view, or perhaps it could stand up in a dystopian novel ... But in this case, the narrative should presupporre un qualche forma di dissidenza/ resistenza/zona oscura… Altrimenti perché scrivere una storia? Una distopia a cui nessuno, nemmeno un solo personaggio, vuole opporsi non è raccontabile.

A questo punto mi sembra sufficientemente assodato che:

1 – Un dialogo efficace si avvale di segnali anche non strettamente verbali che, non facendo teatro, devono essere resi (o sottintesi, o evocati, o suggeriti) nel corso del testo.

2 – Un dialogo efficace è fatto di forme sottostanti (ringrazio ancora Goffman), ovvero di parole non dette («Che ore sono?» – «[Sono] Le undici» e di interiezioni («Che ore sono?» – "Gee! [I] The eleven! ")

3 - An effective dialogue is based on actual or apparent differences of perception. The dialogue is an attempt to reach a common position, or alternatively, to establish an insane differences.

pause for a moment on the step 2.

Pirandello is one of the Italian authors who have made a more prudent and designed to evoke plenty of interjections, as far as possible, the language spoken. Warning: summon, not repeating. Enrico Testa (The simple style, Einaudi 1996) quotes from The Late Mattia Pascal

"Here, here! Look! Look! See! Sa. You know? Go 'way! Really. So. Go good! I do not know ... A bit '...' And

Pirandello had to be clear about the boundaries between gender and narrative theater ...

Reading Pirandello poses a big - very big - problem. What should be "natural" dialogue? That is, as you can make to perfection early dialogue between the caretaker and Mrs. Luis on the fourth floor which leads to walk the dog?

Certainly the words are not enough. You probably need to use only certain elements, ignoring the underlying shapes in the text ("[But since] you are beautiful? - Asked Luis to the dog ...", make facial expressions through the etched and administer I look forward with determination interjections. You probably need to be a great writer ...

Perec in an attempt to exhaust a Parisian site has consciously eliminated the filter of the narrator (proposing it to a different level, but that's another story ...) to illustrate and describe everything he saw. And Nicholson Baker, mentioned by Max in his hand, had more or less the same thing, describing everything, absolutely everything that passes by the head of a character who is not doing anything memorable.

For me these are two great, fascinating (and tenaciously pursued) flasks narrative.

change the subject (apparently).

the silence.

A dialogue is made more or less long silences, punctuated by words.

The music is made of silence and then waited. In the dialogues there are expectations. Not only: some gestures denoting anxious moods in relation to "what answer" and "What I respond." These moods are often described directly: "He was nervous while awaiting the response of XY," or hesitation: "..." (such as with the trains of dots much like a Baricco and imitators).

course the authors are not all equal: Cormac McCarthy addresses the expectations and silences in descriptions of nature, making it a mirror anxiety, confusion, suffering of the character.

short, a dialogue can (should) be enhanced by a number of descriptive elements, graphics and so on. Silence, expectations, inconsistency and slowness of understanding, misunderstandings are crucial. Then add it as a

4 - Effective dialogue is also made up of 'empty' silence, delay and hesitation.

silence and sound, needless to say, they form a musical structure.

What is the musicality of your (our) dialogue?

The narrative is not merely a life lived, but a simulacrum, and mimesis one copy is square, watercolor, sketch, graffiti and not instantaneous. Must have a form (hidden but noticeable) is scanned, a musical audible. Try listening to a dialogue in a language you do not understand ... Let the sounds and breaks through: After a bit 'you get the feeling of structures that are repeated, silences and pauses highly structured, process regular and "narrative." And think of as imitators and comedians pretending to speak different languages.

This trend must be reproduced in the narrative and dialogue.

But we must not settle for a repeat basic rhythm and predictable.

Here's an example (B = bar; I Recorded = P = thought)

B1 - I can not remember to buy the paper towel

B2 - not even me. I remember many things but the paper towel ... - I1 Lubna ran his fingers through his green hair and sighed. P1 is not the only thing I can not remember.

B3 - also towels, too. - I2 added, Tammy.

B4 - I do not need it, you know, are un'androide. - I3 It reminded Lubna P2 N remember ever on a cock quest'idiota.

Schematically: BBIPBIBIP

We can go on for half a page. Then just half a page of D (description) and the homework is done. But it is ugly.

What's wrong?

Apparently nothing. There is all that is needed and reasonable. To me, however, and many readers, the reason does not like. Because often borders on predictability. Other than that, musically, the song sucks. Sounds obvious routine. No music

After ten pages the reader already knows where they'll end the commas, the incisors, the faces and thoughts. By dint of BIP, DIB and PIP it goes nowhere. There are no schemini in good fiction.

homework: we reread our dialogues and try to rewrite them where there is an overabundance of BEEP-BEEP.

And we add a point to our list:

5 - Effective dialogue requires a perceptible rhythm to the reader (especially if read aloud).

say a stir in all ingredients and contemplate our dialogue of words, hesitations, interjections, nonverbal cues, silences, rhythms and characters, albeit subtly, do not share the same views on the world ...

Lubna and Tammy is an excellent example of this subtle discrepancy one of them is un'androide as perceive the world, such as arrays of thought will be?

Try to enrich dialogue and characters with more elements (thoughts, descriptions, allusions and contradictions), re-read it aloud and listen

What do you think?

Not bad. It is a dialogue from writers. Maybe not great writers, but discrete journeyman that are read with pleasure.

But it's over.

Everything is multiplied by the number of characters included in the box. Everyone has their own way of speaking, to stop and stop, to hesitate, to induce or dampen the aggression of the interlocutors. Each has characteristic gestures, tics, personal interjections (Giudabacco! will be effective only if ... Porca scoop! Should ...). Avoid the obvious (the extent ... Absolutely! I have a problem ...), but now, unfortunately, many people speak very well. On the written page, it only works as a parody, but I fear that even the most famous comedians sgalfi they have already consumed all.

Combine characters and characteristics and be mild: evoked, in short, with a few personality traits: key words and gestures, the right ones, it is here that the dialogue really grabs life by the tail.

Mathematically speaking, per definire il numero P di possibilità di dialogo nell’ambito di un romanzo dovremmo ricorrere al calcolo fattoriale, giungendo presto a numeri stratosferici:

P = n1 x n2 x n3 x n4 x n5 x Z x Y

Dove i numeri da 1 a 5 = ingredienti del dialogo, n = numero di possibilità in rapporto a ciascuno dei punti, Z = numero di personaggi e Y = numero delle loro presenza nel corso del romanzo.

Un PC proverebbe tutte le combinazioni…

Ma noi siamo infinitamente meglio di un PC, noi siamo umani e soprattutto siamo lettori. E sappiamo (o possiamo imparare a farlo) riconoscere le combinazioni efficaci dalle semplici possibilità matematiche.

Seguite la forza !

Vietnamese Movie S Flash

Ho letto pochi manuali di scrittura creativa veramente utili ma quei pochi sono stati preziosi. Erano stati scritti da grandi scrittori ed erano sia frutto di esperienze personali di scrittura, sia ricordo di grandi maestri che sapevano insegnare il mestiere. Ne ricordo due in particolare: quello di John Gardner ( Il mestiere dello scrittore , Marietti, purtroppo introvabile) e quello di Raymond Carver ( Il mestiere di scrivere , Einaudi, in catalogo). Vedi caso Raymond Carver was a student of Gardner ...

Other manuals have not been memorable, but they offered me some ideas discrete . Others were not worth more than the paper they were printed.
Speaking of fiction, I think there are recipes to write correctly, but not write well. Probably there is no writing "good", even if most readers can recognize a well written page. But there is the proper writing, able to deeply touch the reader and, simultaneously, so discreet as to be almost not noticed. As Max says: writing to say enough without saying too much. The
I know, is that asking so much. For this writer is a very ambitious goal, but why settle for less? Nobody forces us to write, writing is important if we try to do to the best of our ability.
writer sooner or later faces every kind of challenge: to describe effectively places never seen (and perhaps non-existent), how to make the most of stronzaggine a character without making a caricature ... A number of challenges, different for each of us, occur more often than others.
One of my "problems" are the dialogues.
It is incredibly difficult to find two people on the paper until all sounds contrived, scheduled at the table, boring: I write for an hour, I read and gestures are unlikely and clumsy, phrases, solemn words wrong. And it all takes place in a universe devoid of feeling: no colors, smells, noises. Horror.
So for years I have studied the issue, debated fiercely with anyone I could pull (Max first, of course), I took notes on what was being said in the glorious days of Koro. I filed a bit 'of short pages, and despite my confusion, I have found and preserved. Voila:
Recipe for writers series.

Cork Grease Ingredients

Rules Project: Let emotion


Il Progetto Lasciami un’emozione
UNO SPAZIO PER LA TUA CREATIVITA’
PER ESPRIMERE I TUOI PENSIERI, EMOZIONI, IMMAGINI
Perché l’idea di questa sezione del sito? Per prima cosa per il piacere di condividere la scrittura.
In secondo luogo perché sono persuasa che tutti possiamo lasciar andare i nostri “buoni e cattivi”pensieri, trasformandoli in atti creativi.
I nostri artefatti sono il riflesso di ciò che vive autonomamente dentro di noi e possono accendersi prepotentemente di carica emozionale e drammaturgica, mostrandoci una storia, prendendo “leggero” distacco dalla nostra mente , aiutandola a schiudersi.
Create or observing the beauty of creation is, too, can be shared, you know I can make my dream so how can I find my dream in another. We can freely give voice to our fears, and in the heart of the beast that we will perhaps be our best friend.

What to do to publish
FINALLY AN AREA TO PUBLISH YOUR EMOTIONS

Question: What types of files can I send? Answer: text files, image files, video files to audio and video. "Please send your contributions with a short description and some biographical notes.
Question: BIOM that position has on the intellectual property of the material provided? Answer: I'll give you an answer and a little articulated points.
1. Publication is at the discretion of our editors.
2. Part of the charges will be freely downloadable from any site visitor.
3. BIOM and its management, are not responsible to the law, with respect to any breach of copyright. BIOM welcomed but not necessarily share the artistic direction and content expressed in the materials that you send us just as it has the burden of verifying that each contribution is actually the artistic creation of the one who sent him.
4. BIOM destroy all the materials that will not be published.
Question: Well then do we start? Answer: Gladly! Send your contributions to spiritorev@gmail.com the month in which the issue relates (ie by July for the theme: CHANGES)

How Can You Tell A Scorpio Man Likes You

Project: LET EMOTION


The project will be a space for readers to sign up interested in reading, seeing, listening, creating, and above all to share the flavor and beauty evocative of the creative acts.

You can participate by sending your thoughts, words, images, or to propose any month, the title of a topic that is particularly dear to you and you want to share with the community and the spiritirev anyone come to your poetic whispers.

The most significant contributions will be published on the website and the authors will receive coupons for free admission or discounts to special events REV, courses and seminars in the humanities and natural therapies, and to take advantage of paths in collaboration with rebalancing study biomass Cagliari.
The theme for July is "CHANGE" . To get an idea on how to compose a look at the post "look beyond the illusion." What are you waiting, you too become an author and let emotion.


For full details on the initiative go to the post: Let Regulation project emotion.

Do Men Pleasure Themselves

A look beyond the illusion

Looking beyond

to get to "see"

how to

the ax out

anything

the n every moment

with a single

blink of an eye.

Where To Get Brazilin Waxing Done In Delhi

Fire Dance

Fire Dance

SpiritiRev June 21 in the Magic Night Summer Solstice

Fire is the symbol of the sun and June 21, the longest day of ' years, the sun reaches the zenith and stops, as if to linger at its best. The energy of this special time of year is particularly beneficial and renewing. To the ancients, the solstices represent the doors, the summer was known as the port of men.
Con la danza intorno al fuoco si scacciavano in passato, le energie negative che vengono poi attirate nelle fiamme, per far si che emergano trasformate in armonia e benessere. Tra danze sacre e meditazione dinamica rievocheremo l’antico rituale per una nuova apertura alla vita e alle relazioni con gli altri.

Portare con sè degli oggetti fatti a mano da voi o cose che simboleggiano qualcosa che intendete trasformare o liberarvi nella vostra vita (foto, vestiti, occhiali, gioielli, una frase su un foglio e qualsiasi simbolo del passato). Inoltre munirsi di candela.
Abbigliamento comodo ( no jeans)
DOVE: V. Alziator, 23 Cagliari studio BIOM.
QUANDO: 21 Giugno ore 20.30

contributo 5€.

Acute Gastroenteritis Nursing Intervention

someone to listen

Prova a chiederti con chi puoi veramente condividere la tua vulnerabilità?
Con chi, fra tutte le persone che ti circondano, puoi affidare le tue paure e preoccupazioni più profonde?
C’è qualcuno cui poter mostrare i tuoi lati deboli, raccontare i tuoi errori più grossi e le tue speranze più alte?
Chi è questa persona?
Quando è stata l’ultima volta che hai parlato con lei?
Se non riesci a trovare nessuno tra le tue conoscenze, quello è il momento di cercare un counselor ed una relazione d’aiuto.

*Lo studio BIOM a Cagliari (specializzato in counseling, kinesiology and naturopathy integrated) offers a service DOOR COUNSELING FREE Monday through Friday, to frame the nature of discomfort and agree with the way most suited to your balance. For advice call 3939327109
studiobiom@gmail.com

Sore Throat And Red Spots On Roof Mouth

Fragments of the unconscious

Miriam is unable to love herself, asked me to work with the body because it has a great need and want to get rid ... dancing together. I'll show the act and starts to change, freeing up the movement, passing from one state to the crystallization of a total dissolution. Miriam needs to let go these chronic feelings of inadequacy and to adhere to life, the everyday. His is an evolutionary movement, comes from the soul that rages against any attempt to reconstruct rationally want a destiny which resists existential unchangeable. Dreams, phobias, of a distant past, his childhood, his present, everything is condensed into a narrator obsessively this time slowly gave way to the magic of dance and it leaves that all-consuming guilt that keeps her away, for the brink of self-knowledge and acceptance of conscious life. Dancing is a form of magic that has always lived with humanity, leading to trance and ecstasy, the experience with the divine, to merge with the propria essenza segreta. Ed ecco che qualcosa affiora dal profondo e si suggella nei versi che ho chiesto a Miriam di trascrivere al termine della sua straordinaria esperienza:

"Avanzo pura nel tempio,

nella nudità del corpo che si immerge nelle acque sacre

fonte di eterna rigenerazione e vita.

Riemergo e sono una dea,

sono amata e adorata,

sono piena d'amore dentro e fuori di me.

La mia veste è bianca e oro,

rifulge di luce intensa e di iridescenti riflessi,

fecendo intravedere a tratti il corpo armonioso

e radiant radiant light and beneficial.

are Virgin and Mother, are

Daughter, Lover and Sister,

are companions and friends,

are servants and Regina,

are everything a woman might want to be

and everything a man should recover. "

May 30, 2010

Doujin-moe One Piece Member

Mal to live: you can break free from the dark evil!







With integrated kinesiology can know the source of your problem.

DISCOMFORT And somatization
psychosomatic discomfort is considered the evil of modern man, but today we have all the tools to facilitate the resolution of the illness. With the integrated method kinesiological you can intercept the causes of the problem without resorting to antidepressants. But how?
rebalancing complementary techniques (shiatsu energy, nutrition, psychosomatic medicine, naturopathic treatments, meditation techniques and body dynamics) integrated test kinesiological can be traced back to the root cause of emotional suffering that depression and somatization, often represented by experienced old, painful and traumatic, reporting directly to luce.Una when dissolved the shadow, the unconscious no longer need to send out signals, and finally symptoms the person is free and can restore the optimal balance, re-establishing communication with itself.

It 'important to remember that at this stage, even if the subject is guided by the operator, he never loses, at no time, your critical thinking and decision-making.
During a kinesiology session, the operator tends to facilitate that process of self-recognition and processing of negative and limiting beliefs of the person, phobias and fears of deep and make them rediscover the serenity and fullness hitherto precluded.

Communicating with the unconscious is the best way to rediscover 'themselves and to get immediate and lasting results that allow the subject to return to the protagonist of his life, without being at the mercy of depression and somatization. The serenity can be found simply by talking to themselves.

E 'can receive treatment at study Kinesiology Integrated BIOM Cagliari
For information or a free consultation, call 3939327109 or write to studiobiom@gmail.com

Snapper Z Rider For Sale

series you've got it under my nose!


after finding:

As you can see, the face is even bigger coffee beans - and a very different conformation. Yet the brain bay only the hue ..

And maybe (especially if it took you a little 'to find it) you may have noticed something else as well: rather than making a fool of, admitting its inability to find the rims, the brain will suggests there .. : -]

M Jak Miłość Streszczenia

FIND YOUR BODY DOES NOT MAKE IT THE PARABLE OF THE FROG obeys

(found online)

're absolutely convinced that I have control of your body? For example: if you think your feet to move commands, the foot will do as you wish?
You're wrong. And I'll give the test ..
sit
raises the right foot dal pavimento
fagli eseguire dei cerchi in senso orario
E, fin qui, tutto pare funzionare. Ma ti stai solo illudendo.
Mentre continui a fare cerchi col piede..
con la mano destra, disegna nell'aria (dall'alto verso il basso) il numero "sei"
A questo punto il tuo piede invertirà direzione.E non c'è NULLA che tu possa fare per impedirglielo.

Mysore Mallige Baga 2 Movie

circolata per email, riscritta da JB

I ranocchi dello stagno s'erano radunati per fare una gara: avrebbe vinto il primo che fosse riuscito a salire in cima all'albero più alto.
Molta gente era accorsa per watch the race and to cheer, though it soon became clear that none of them seriously believe that these frogs could never accomplish such a feat - and all that was heard were things like "See, let alone not do .. they never will. "
Several frogs, discouraged, they began to give up - but one that, despite the undeniable difficulties, continued to strive to reach the top. But people do not even believe in him, and shouted: "So, sooner or later slide down like everyone else! What do you slam?"
But the frog did not give up. And although all the other frogs have now left the company, he continued to insist, more determined than ever to reach its goal.
And we made it!
While other frogs were escorting him away in triumph, one of them came over to ask what was the secret of his success, and found that .. was deaf!
not listen to people with a nasty habit of being negative bias: rob you of the best hopes of your heart!
Always remember the power they have heard or read the words, so make sure you always think positive as possible!
And always be deaf, when someone is telling you that you can not achieve your dreams.

Whats The Movie Man Is Raped In Locker Room

4. When I read it?

Title: The Life & Times of Michael K.

Author: JM Coetzee
Publisher: Einaudi ET 2001 - 2007
Synopsis: Michael K. is an adult quiet and poor, about the bare essentials, has no friends or girlfriends, only has the intelligence of the hands and body, has no regrets and has no hope because they do not have the mental categories to express them, life is just waiting to last until able to work. But in South Africa ravaged by a war indefinitely and without sides, to lead a "normal" for lack of happiness lived by Michael, from his mother and many like them, is degraded in an unbearable misery that forces man to take refuge in the mountains, away from humans and free from the thoughts and words to express them.
War stana even from that little Michael, resigned paradise. Forced to finally take action that will never have the peace of solitude and that the 'other' is his peers, the ones who will ever have, Michael is much more convoluted, complex, pragmatic and appropriate to survive, those who, having more tools, mental categories and regrets accustomed to relying on misleading and reassuring continuity of logical thought. Slow but steady, Michael transformed from mature mind "small" in a focused mind on the world.
See also: The Glass Palace (Amitav Ghosh), Melee ( Iain Banks), Life Policy ( Lydie Salvayre ) ...
Ascoltavo : Amnesiac (Radiohead), Toxicity (System of a Down), Exciter (Depeche Mode). Origin of Symmetry (Muse) Mutter (Rammstein). I Popol Vuh si stavano sciogliendo, i Mars Volta si erano appena costituiti.
Era il 2001 : Pessimo inizio in gennaio quando, a El Salvador, un terremoto provoca più di 5.000 morti. In maggio elezioni in Italia: Berlusconi e Fini, allora amiconi, battono il duo ulivista Rutelli-Farassino, così il centrodestra torna al governo insieme alla Lega. Ma non cambia mai questo Paese? (sì, certo, ma soltanto in peggio…)
Seguirà, l'11 settembre con l'attentato alle Twin Towers e, in dicembre, l'Argentina piomberà in una devastante crisi economica. Il botto si sentirà presto anche da noi.

Inguinal Hernias In Women

POLARITY OF THE DANCE '

Ciclo Itinerari Evolutivi Nuovo REVLab







Dall’Uno al Due…pronti a fluire?

Il messaggio dell’acqua, l’elemento del chakra sacrale (2°chakra), ci indica il passaggio dal momento in cui abbiamo consolidato le nostre basi, all’inizio di un processo fluido di movimento creativo, quando ci sentiamo sicuri e pronti per “incontrare” l’altro. Dalla sopravvivenza alla generazione della vita, in una danza di continuità, evoluzione, adattamento, cambiamento. Le emozioni, come irrequieti giochi d’acqua, ci esplodono dentro, nella pancia, ricordandoci che possiamo sentire e pensare con il nostro 2° cervello : l’intestino. Incontrare l’ombra di questo chakra, il senso di colpa, per accettarlo e lasciarlo andare. Infine cogliere quella sensazione di equilibrio dinamico, abbandonandosi alla dualità senza rigidità, fluendo in uno stato di armonico bilanciamento, esistendo qui e ora.

Quando? 22 Maggio dalle 16.00 alle 19.00 sempre in v. Alziator, 23 Cagliari, studio Biom

Can I Use Baby Powder Before Waxing

REVLab May 2010

Finally, even if with some delay with respect to previously announced, dear friends, here is the new REV program on workshops for the month of May:

cycle routes Evolutionary

L ABOR REV Awakening Life Force

chakra energies

May 8, 2010 16:00 to 20:00 hours

journey through the chakra energy system (perception, stimulation techniques and rebalancing the body's seven energy centers).

BREATH IN THE ROOT
May 9, 2010 10.00-13.00

1st Muladhara chakra

Strengthen stability and strengthen the foundations. Meeting with the demon associated with this chakra, the fear. Find out what kind of fear from us, integrate and transform. Energy release and reloading heavy energy. Exploring the identity matrix.

POLARITY OF THE DANCE '
May 22, 2010 16.00-19.00

the message water, the element of chakra sacral (2nd chakra), shows us the transition from the moment we have consolidated our bases, beginning of a process fluid creative movement, when we feel safe and ready to "meet" the other.

Trainer course with me, Monica Melis Counselor ® ABC-mediated body
At Studio Via Alziator Biome, 23 Cagliari
Info and registration 3939327109 or send an email.

€ 25 contribution for each laboratory