Science topic
REDD+ - Science topic
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Questions related to REDD+
Livelihood improvements and provisions of alternatives
“Emoción en la interacción digital: de los recursos lingüísticos a los emojis, memes y stickers”
Pedido de contribuciones
Envío de las propuestas: hasta el 15 de julio de 2019
Notificación de contribuciones aceptadas: 31 de octubre de 2019
La Revista de Estudios del Discurso Digital (REDD) invita a investigadores que trabajen en lengua española a enviar manuscritos para su segundo número, cuyo tema central es “Emoción en la interacción digital: de los recursos lingüísticos a los emojis, memes y stickers”. El objetivo de este número especial es atender a diferentes recursos y estrategias que los usuarios emplean para canalizar la expresividad en las interacciones digitales (escritas y orales). Desde los primeros recursos textuales que se emplearon (abreviaciones, mayúsculas y minúsculas alternadas y otras estrategias de escritura creativa) a los diferentes recursos multimodales que las interfaces ofrecieron, los usuarios han desarrollado un repertorio de estrategias pragmáticas para canalizar sus intenciones comunicativas.
En este número se priorizarán los trabajos de alta calidad que describan y analicen algunas de las siguientes temáticas en relación a una o más plataformas (redes sociales, correo electrónico, etc.) y/o tipos textuales (textos breves, chats, post/comentarios, mensajería instantánea, etc.):
1. Evolución diacrónica de los recursos expresivos.
2. Usos y funciones de emojis, memes, stickers, videos, etc. en la interacción digital.
3. Recursos expresivos en la interacción digital oral (videos, videollamadas, audios).
Los artículos podrán ser tanto reflexiones teóricas como análisis empírico de un conjunto de datos. En el caso de que utilicen corpus, estos deberán ser recolectados bajo protocolos éticos que salvaguarden la identidad de los interlocutores. Por otro lado, y dado que el principal interés de REDD es la lengua española, se valorarán los artículos que atiendan a la riqueza y variación inter e intralingüística del español empleado en las interacciones digitales. Asimismo, se invita a todos los interesados publicar en la revista a enviar propuestas para el segundo número de contenido general. El plazo de recepción de aportaciones para REDD se encuentra abierto durante todo el año.
Indicaciones para enviar manuscritos
Los manuscritos deberán ser enviados por vía electrónica mediante el Portal de Revistas UVa (Universidad de Valladolid, España), en la siguiente dirección: https://revistas.uva.es/index.php/redd.
Los artículos tendrán una extensión máxima de 15.000 palabras (incluyendo tablas, gráficos, ilustraciones y bibliografía) y respetar las normas editoriales de la revista. Se deberá enviar maquetado en la plantilla de REDD. Todos los textos que cumplan estos requisitos serán revisados por pares ciegos. La decisión de publicación será comunicada a los autores en un plazo máximo de tres meses.
Para informaciones adicionales, enviar un correo electrónico a revista.discurso.digital@uva.es
STANDUP COMEDY
Standup Comedy has a long history. During the Renaissance, the royal jesters were chosen by the king, and he chose people who looked ridiculous; they had bug-eyes, and humped backs, and were short and often deformed. They word motley (mismatched) clothing, and they also wore caps and bells, and they carried fake scepters with heads on the ends of them so that they could talk to the scepters and not directly to the king. Because they were so mis-formed, they were considered not to be in competition with the king, and were therefore allowed to say things to the king that no one else would have been allowed to say. Some jesters spoke through scepters (made from pig bladders), as when today’s ventriloquists speak through their puppets. It was a way of “distancing” themselves from criticism. Even today’s standup comics speak into microphones, which at the same time empowers the comedian and distances the comedian from the audience.
Early on, comedians sought to identify themselves with ethnicities. These went way beyond African American, Hispanic, and Asian communities. Scotch, Welsh, German, Norwegian, Jewish, and Irish were all fodder for joking—both from inside and outside the groups. Still today we see comedians desperate to stand out from the crowd. “Hot topics” in the 1960s and 70s, were politics, race relations, and sex. Alan King, Danny Thomas, Don Rickles, Joan Rivers, and Jack Leonard became popular at nightclubs and resorts, while Woody Allen, Shelley Berman, Phyllis Diller, and Bob Newhart became famous on television. African American comedians Redd Foxx, George Kirby, Bill Cosby, and Dick Gregory developed white audiences. Lenny Bruce was known as ‘the’ obscene comic, while George Carlin was arrested in July of 1972 after performing his still famous “Seven Words You Can Never Say on Television.”
Alan King, Danny Thomas, Don Rickles, Joan Rivers, and Jack Leonard became popular at nightclubs and resorts, while Woody Allen, Shelley Berman, Phyllis Diller, and Bob Newhart became famous on television. African American comedians Redd Foxx, George Kirby, Bill Cosby, and Dick Gregory developed white audiences. Lenny Bruce was known as ‘the’ obscene comic, while George Carlin was arrested in July of 1972 after performing his still famous “Seven Words You Can Never Say on Television.” In the 1980s and 1990s, stand-up expanded from nightclubs into major concerts with huge audiences. Bill Cosby and Steve Martin were “gentle” comedians, while Robin Williams was frenetic. Richard Pryor used an acerbic style, while Rodney Dangerfield and Buddy Hackett stuck with the old style, avoiding social satire. Saturday Night Live and The Tonight Show brought stand-up comedy to the whole country. One newspaper editor suggested that stand-up comedians were the new “heroes” in our society.
HBO was the first network to produce comedians without censoring them. This was partly because patrons paid for their services and so expected more. HBO produced 14 comedy specials starring George Carlin and his campaign against censorship. A new generation of comedians including Bill Burr, David Cross, Hannibal Buress, Chelsea Handler, Dave Foley, Todd Glass, Sara Silverman, and Demetri Martin do not have to worry about censorship of the kind that caused the Smothers Brothers to lose their show because of mildly criticizing the Vietnam war, or caused Jack Paar to walk off his show to protest his network’s censoring of an old British story about a confusion over whether W.C. stood for Wayside Chapel or Water Closet.
Bob Hope, Jack Benny, George Burns, Fred Allen, Milton Berle, Henny Youngman, Alan King, and Frank Fay are said to exemplify a pure form of stand-up comedy. They stood before an audience and managed to develop the kind of rapport that allowed them to speak—and laugh—with strangers who had suddenly become “friends.” Their performance comedy is more theatrical, more scripted, more elaborate, and more fully developed. Performers use costumes, props, and stage settings as do most of our contemporary late night TV hosts.
Don and Alleen Nilsen’s Humor PowerPoints:
Standup Comedy has a long history. During the Renaissance, the royal jesters were chosen by the king, and he chose people who looked ridiculous; they had bug-eyes, and humped backs, and were short and often deformed. They word motley (mismatched) clothing, and they also wore caps and bells, and they carried fake scepters with heads on the ends of them so that they could talk to the scepters and not directly to the king. Because they were so mis-formed, they were considered not to be in competition with the king, and were therefore allowed to say things to the king that no one else would have been allowed to say. Some jesters spoke through scepters (made from pig bladders), as when today’s ventriloquists speak through their puppets. It was a way of “distancing” themselves from criticism. Even today’s standup comics speak into microphones, which at the same time empowers the comedian and distances the comedian from the audience.
Early on, comedians sought to identify themselves with ethnicities. These went way beyond African American, Hispanic, and Asian communities. Scotch, Welsh, German, Norwegian, Jewish, and Irish were all fodder for joking—both from inside and outside the groups. Still today we see comedians desperate to stand out from the crowd. “Hot topics” in the 1960s and 70s, were politics, race relations, and sex. Alan King, Danny Thomas, Don Rickles, Joan Rivers, and Jack Leonard became popular at nightclubs and resorts, while Woody Allen, Shelley Berman, Phyllis Diller, and Bob Newhart became famous on television. African American comedians Redd Foxx, George Kirby, Bill Cosby, and Dick Gregory developed white audiences. Lenny Bruce was known as ‘the’ obscene comic, while George Carlin was arrested in July of 1972 after performing his still famous “Seven Words You Can Never Say on Television.”
Alan King, Danny Thomas, Don Rickles, Joan Rivers, and Jack Leonard became popular at nightclubs and resorts, while Woody Allen, Shelley Berman, Phyllis Diller, and Bob Newhart became famous on television. African American comedians Redd Foxx, George Kirby, Bill Cosby, and Dick Gregory developed white audiences. Lenny Bruce was known as ‘the’ obscene comic, while George Carlin was arrested in July of 1972 after performing his still famous “Seven Words You Can Never Say on Television.” In the 1980s and 1990s, stand-up expanded from nightclubs into major concerts with huge audiences. Bill Cosby and Steve Martin were “gentle” comedians, while Robin Williams was frenetic. Richard Pryor used an acerbic style, while Rodney Dangerfield and Buddy Hackett stuck with the old style, avoiding social satire. Saturday Night Live and The Tonight Show brought stand-up comedy to the whole country. One newspaper editor suggested that stand-up comedians were the new “heroes” in our society.
HBO was the first network to produce comedians without censoring them. This was partly because patrons paid for their services and so expected more. HBO produced 14 comedy specials starring George Carlin and his campaign against censorship. A new generation of comedians including Bill Burr, David Cross, Hannibal Buress, Chelsea Handler, Dave Foley, Todd Glass, Sara Silverman, and Demetri Martin do not have to worry about censorship of the kind that caused the Smothers Brothers to lose their show because of mildly criticizing the Vietnam war, or caused Jack Paar to walk off his show to protest his network’s censoring of an old British story about a confusion over whether W.C. stood for Wayside Chapel or Water Closet.
Bob Hope, Jack Benny, George Burns, Fred Allen, Milton Berle, Henny Youngman, Alan King, and Frank Fay are said to exemplify a pure form of stand-up comedy. They stood before an audience and managed to develop the kind of rapport that allowed them to speak—and laugh—with strangers who had suddenly become “friends.” Their performance comedy is more theatrical, more scripted, more elaborate, and more fully developed. Performers use costumes, props, and stage settings as do most of our contemporary late night TV hosts.
Seriously, REDD+ Strategy for forest carbon sequestration in India Himalayan region mark a new era for Himalayan ecological research by the pace of climate change? However, new suggestions by scientific research through multiple publication in IHR, Govt might boost the mitigation policies in the ground level? i think our community and politician aren’t convinced that a rapid climate crisis lies ahead
Hello everyone,
I isolated DNA from freshly taken Human blood but during processing I was getting RBC contamination in pellet .I washed with RBC lysis buffer 6-7 times followed by centrifugation but still got reddness in pellet while the supernatant was clear. So please suggest how to avoid this next time without using any kit? and I want to use this DNA as unmethylated control for methylation specific PCR. SO will that RBC contamination effect my results. I took 2 ml of blood initially and used 3 volume i.e 6 ml RBC lysis buffer for removin RBCs.
What if current practice of National Forest Inventory switches to National Tree Inventory, considering the importance of Trees outside forests and their impact on livelihood of local people and potential carbon trade?
What information should be included in a National REDD+ registry?.How should it interact with other databases like National Forest Monitoring System?
Computable General Equilibrium Model and Simulation.
I am try to develop a theoretical framework relating to the role played by state and non-state actors in the REDD+ and FLEGT-VPA processes.
Why has REDD+ (formerly known as Avoided Deforestation) come to occupy such a central position in climate change discourses recently. What has changed since it was first rejected in the KP/CDM era? Has those reasons cited for its rejection been addressed now? What is REDD+ really supposed to deliver.
The accuracy of areas of peat fires are important component will be impact on the result of emission from peat fires. Most of the approaches used in the determination of peatfires areas based on burnt areas that derived from hotspot. The problem, burnt area just represent areas burnt scar in the above ground, we didn't know these of peat fire or no.
Storage of Carbon in biomass, dead organic matter, and soil carbon pools are one of the key supporting services provided by the forest.
We use a short range DIDSON in Redwood Cr, and a long range ARIS in the Mad R. Redd surveys are independently counted in Redwood Cr. To date (3 yrs of data), we are not seeing any agreement with sonar counts and redd counts for Chinook salmon and steelhead trout. The redd counts are negatively biased, even if you take into account that not all salmon passing the sonar beam will spawn (pre-spawn mortality). I know there is similar work on the Secesh R in Idaho, and I am wondering if any other place has a similar study going on and what their results might be.
I am exploring calculations of NPP using different approaches and read about this model, but I've been unable to find it.
