Cambodian System of Writing and Beginning Reader with Drills by Franklin E. Huffman

By Franklin E. Huffman

This quantity includes 4 components: (1) The Cambodian Writing approach, a proper description of the connection among the writing procedure and the phonology of the language; (2) Programmed analyzing workouts, a chain of hugely dependent studying drills to coach the coed to learn all standard Cambodian note shapes; (3) starting Cambodian Reader, fifty studying choices, graded in size and trouble, starting from brief, uncomplicated narratives to essays on a number of features of Cambodian tradition; and (4) Cambodian-English thesaurus, containing a few 2,000 phrases.

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74 Khodasevich was one of the staunch opponents of this genre, as he believed that documentary material can only be useful at a preliminary stage of the creative process. e. he is precisely the Hero … He is the Author only in the sense of mechanically recording the Hero’s thoughts and feelings. 75 In his essay “I will weep over fantasy’s creations” (“Nad vymyslom slezami obol’ius’,” 1934) and later in his book The Dying of Art (Umiranie iskusstva, 1937), Vladimir Veidlé took the discussion out of the strictly émigré context and commented critically on the “intrusion of documentalism” into contemporary European literature: In journals, even those that are serious, but fear being “left behind,” various “authentic documents” are given a more honored place than that allocated to the novel, stories or poems.

From an early age, Bashkirtseva dreamed of fame, The Human Document and Strategies of Self-Representation 21 tried to make a career as a singer, and afterwards, when due to illness she first lost her voice and then her hearing, she turned to painting. She studied at Rodolphe Julian’s Academy, which, in contrast to other French schools of painting, admitted women, and even exhibited her pictures at the prestigious Salon, earning high scores from the jury and critics. Bashkirtseva was acquainted with many prominent figures of her time, was granted an audience with the Pope Pius IX, and initiated a playful correspondence with Maupassant.

Despite such occasional concessions, Khodasevich and other Russian critics underestimated the artistic effect of incompleteness, which was widely and quite consciously practiced by contemporary Western European authors. The Surrealists’ “taste for the unfinished” (“le goût de l’inachevé”) intrigued the reader and relaxed his imagination through an intricate pattern of semantic gaps and graphic omissions. The reader is in this way invited to fill in the lacunae and to “complete” the text. For instance, Louis Aragon’s narrator abruptly breaks off a long story about the Butte-Chaumont park: “Am I going now to pursue this deceitful 34 Narrating the Self description of a park where three friends entered one evening?

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