By Esther Raizen
Modern Hebrew for Intermediate Students deals highschool, university, and independent-study scholars a state of the art studying event that takes complete benefit of media know-how and the realm vast net. A sequel to Modern Hebrew for Beginners, this mixture of textual content- and workbook is designed for use with web-based audio, visible, and interactive fabrics to offer scholars a number of studying possibilities fitted to quite a few studying kinds. this system presents for severe perform of all 4 language abilities: examining, writing, listening comprehension, and conversation.
Esther Raizen offers language education whereas targeting various normal subject matters, comparable to geography and genetics, in addition to on subject matters pertinent to Hebrew tradition and Israeli realities. A committed web site (www.laits.utexas.edu/hebrew/index.html) is wealthy with interactive tutorials, hyperlinks to websites of curiosity that function digital excursions, brief movies in keeping with modern Israeli lifestyles and society, and diverse interviews that offer listening and dialogue possibilities. Raizen emphasizes the spoken language, whereas additionally taking note of quite a few points of normative grammar, of the written language, and of cultural parts linked to Hebrew. With this number of fabrics and the skill for non-stop updating through the web site, lecturers and scholars will locate this booklet eternally adaptable and hugely compatible for self-paced education and quite a few educational settings.
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Additional resources for Modern Hebrew for Intermediate Students
Alexandre Dumas père (July 1802–1870) Les trois mousquetaires / The Three Musketeers (1844) 27. Prosper Mérimée (1803–1870) Carmen / Carmen (1852) 28. George Sand (Aurore Dupin, baronne Dudevant, July 1804–1876) La mare au diable / The Devil’s Pool (1846) 29. Charles-Augustin Sainte-Beuve (December 1804–1869) Volupté / Sensual Pleasure (1834) 30. Gérard de Nerval (Gérard Labrunie, May 1808–1855) “Sylvie” (Les filles du feu) / “Sylvie” (The Fire Maidens, 1854). 31. Jules Barbey d’Aurevilly (November 1808–1889) Ce qui ne meurt pas / That Which Does Not Die (1883) 32.
I know how prone we are to err in things that concern us, and also how suspect our friends’ judgments ought to be to us when they’re in our favor. But I’ll be very glad to show in this discourse what were the paths I followed, and to depict my life in it as in a painting, so that everyone can judge of it, and so that my learning from common report the opinions people will have of it will be a new means of educating myself, which I’ll add to those I customarily use. Thus, my intention is not to teach here the method everyone ought to follow to guide his reason properly, but merely to show in what way I have tried to guide mine.
Théophile Gautier (1811–1872) Le capitaine Fracasse / Captain Fracasso (1863) . 34. Eugène Fromentin (1820–1876) Dominique / Dominique (1862) 35. Charles Baudelaire (April 1821–1867) Le spleen de Paris / The Spleen of Paris (1869). 36. Gustave Flaubert (December 1821–1880) Madame Bovary / Madame Bovary (1857) 37. Alexandre Dumas fils (1824–1895) La dame aux camélias / The Lady with the Camellias (1848) 38. Jules Verne (1828–1905) Le tour du monde en quatre-vingts jours / Around the World in Eighty Days (1873) 39.