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ResumenAl comparar las estructuras verbales del inglés y del español, los relatos gramaticales subrayan las diferencias entre el like inglés y el gustar español. A pesar de su cercanía en el significado, estos predicados muestran un comportamiento sintáctico divergente: mientras que like codifica como sujeto la entidad que experimenta un determinado sentimiento, y como objeto el estímulo responsable de ese sentimiento, gustar expresa al experimentador a través de un objeto indirecto (o dativo) y al estímulo a través del sujeto, ilustrado en los ejemplos (4.1) y (4.2).Palabras claveEstas palabras clave fueron añadidas por la máquina y no por los autores. Este proceso es experimental y las palabras clave pueden actualizarse a medida que mejore el algoritmo de aprendizaje.
En: Clements, J.C., Yoon, J. (eds) Functional Approaches to Spanish Syntax. Palgrave Macmillan, Londres. https://doi.org/10.1057/9780230522688_4Download citationShare this chapterAnyone you share the following link with will be able to read this content:Get shareable linkSorry, a shareable link is not currently available for this article.Copy to clipboard
Entrevista a Greg Miller
ResumenEl español suele caracterizarse como una lengua de orden verbal libre que tipológicamente pertenece al grupo de las lenguas sujeto-verbo-objeto (SVO). A este respecto, nos ocuparemos de dos cosas. En primer lugar, una descripción tipológica del orden de palabras en español es demasiado vaga, dado que el español tiene muchas cláusulas intransitivas en las que los sujetos son posverbales (orden VS). En este capítulo defenderemos que el español es una lengua de sujeto inicial, es decir, de SVO/SV.2 En segundo lugar, la expresión «orden libre» no puede interpretarse como «orden arbitrario», ya que las variaciones en el orden de los constituyentes nunca son gratuitas. Siguiendo a Thompson (1978: 20), afirmamos que el español es una lengua que utiliza el orden de los constituyentes con fines tanto gramaticales como pragmáticos:
Desde un punto de vista tipológico, pues, podemos mostrar que algunas lenguas utilizan el orden predicado-argumento principalmente con fines pragmáticos, y otras principalmente con fines gramaticales. También hay lenguas que utilizan el orden predicado-argumento para ambas finalidades sin dar prioridad a ninguna de ellas; el español puede ser una de esas lenguas.
79 ara dance of the alibi cultural center
On September 20, 1954, the CBS network broadcast, as part of its Studio One program, the drama «Twelve Angry Men» (title translatable as «Twelve Angry Men»). Unlike other episodes of that program, it was not an adaptation of a play or a novel, but an original play written for television by Reginald Rose. It was broadcast in a rigorous live broadcast organized by director Franklin Schaffner and starred Robert Cummings and Franchot Tone, among others. The plot featured the closed-door deliberation of a jury in a criminal trial for murder.
Many viewers have remembered Doce hombres sin piedad as the best program of Estudio 1. Also the professionals involved in its production always considered it an important professional success in their careers. Gustavo Pérez Puig considered it to be «the best thing I have ever done, or one of the best». The performers always considered it as one of the highlights of their careers, at least in television. Scholars of the subject have described their performances as masterful. In fact, Doce hombres sin piedad is often cited as a «canonical» example of TVE’s dramatic programs, reaching a level that would not be surpassed, as the genre went into decline shortly thereafter.
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The author creates a picaresque novel from the material he collected in his research for the television series El pícaro. Fernán Gómez rescues some of the scenes from the series that were his own creation, the fruit of his imagination and talent.
Set in the world of cinema, it tells the story of the love and life adventures of Enrique Lafuente, a successful writer and screenwriter who has sacrificed his talent in exchange for the money offered by the production companies.
Half tragic and half comic, this is the story of the Marquis of Trespasos, a down-and-out aristocrat who lives in a ramshackle palace on the outskirts of Madrid. Fernán Gómez imbues the story with overwhelming sensitivity and emotion.
In the summer of 1936, the Civil War breaks out. In the city of Madrid, the family formed by Don Luis, his wife Dolores and their children Manolita and Luisito, share the daily life of the war with the maid and the neighbors of the building. Despite having failed, Luisito wants his father to give him a bicycle, but the situation will force him to postpone the purchase. Manolita’s husband is killed by a bomb.