Al Pacino
最美男神al pacino
美国演员，生于纽约市，高中时在曼哈顿表演艺术学校，并开始在外百老汇演出。
1966年进著名的“演员工作室”进修，1969年因舞台剧《老虎是否戴项链？》获托尼奖。
同年演出第一部影片《我，娜塔莉》。
后被导演弗朗西斯·福特·科波拉看中，在《教父》中扮演迈克..Al Pacino's acting demands an artistic reverence. Unlike any other actor his body language speaks more dialogues than his speech. Al Pacino is one actor whose acting as a villain inspires us. Who else can portray a negative character and yet influence us in a way like Al Pacino?Consider Jack Nicholson, Morgan Freeman, Johnny Depp, Harrison Ford, Leonardo, George Clooney, Michael Douglas..we like them and they are best in their unique character that they portray on screen. But hey, here is Al, who dons all the hats of acting with equal perfection.Another distinguishing trait of Al is his subtlety, he manages to portray his characters so quietly that makes the experience of watching him lively and magical. He can play big or small, loud or soft, tireless or exhausted, always as if it’s the only note he has. . . Pacino has an extraordinary range of styles, and a pitch-perfect ability to evoke them. There is no such thing as “the Al Pacino performance,” because there are too many different kinds of them.He has been a great philanthropist as well! Pacino turned down Star Wars and gave the world Harrison Ford. He turned down Die Hard and we came to know about Bruce Willis. He left out of Apocalypse Now and Martin Sheen emerged. He made way for Richard Gere in Pretty Woman.What makes him great? He is complete actor and I will show you howHe is lovable-He can be the angriest person on this earthHe is innocently funnyyet mischievousCharismatic?He does tango tooLooks at 60? Oh yes!Well, he is the boss.。
历届奥斯卡金像奖最佳男主角.
历届奥斯卡金像奖最佳男主角.第77届奥斯卡最佳男主角（2004-2005）杰米-福克斯(JAMIE FOXX)《灵魂歌王》(RAY)第76届最佳男主角（2003-2004）：肖恩·潘（《神秘之河》）SeanPe第75届最佳男主角（2002-2003）：阿德里安-布劳迪Adrien Brody《钢琴师》（ACTOR IN A LEADING ROLE）第74届最佳男主角（2001-2002）:登泽尔-华盛顿(DenzelWashington),《训练日》(TrainingDay)第73届最佳男主角（2000-2001）：拉塞尔-克罗（《角斗士》）第72届最佳男主角（1999-2000）：凯文·斯贝西 Kevin Spacey （《American Beauty 美国丽人》）第71届最佳男主角（1998-1999）：罗伯特*贝尼尼《生活是美好的》《Life is Beautiful》第70届最佳男主角（1997-1998）：杰克*尼克尔森（《尽善尽美》）第69届最佳男主角（1996-1997）杰弗里*拉什（《夏因》）1998----Robert Benigni(罗拔图贝尼尼), 一个快乐的传说)1997----Jack Nicholson(积尼高逊), 《As Good As It Gets》(猫屎先生)1996----eoffrey Rush(谢菲路殊), 《Shine》(闪亮的风采)1995----Nicolas Cage(尼古拉斯基治), 《Leaving Las Vegas》(两颗绝望的心)1994----T om Hanks(汤汉斯), 《Forrest Gump》(阿甘正传)1993----T om Hanks(汤汉斯), 《Philadelphia》(费城故事)1992----Al Pacino(阿尔柏仙奴), 《Scent of a Woman》(女人香) 1991----Anthony Hopkins(安东尼鹤坚斯), 《The Silence of the Lambs》(沉默的羔羊)1990----Jeremy Irons(谢洛美艾朗斯), 《Reversal of Fortune》(豪门孽债)1989----Daniel Day Lewis(丹尼戴尔路易斯), 《My Left Foot》(无悔今生)1988----Dustin Hoffman(德斯汀荷夫曼), 《Rain Man》(手足情未了)1987----Michael Douglas(米高德格拉斯), 《Wall Street》(华尔街)1986----Paul Newman(保罗钮曼), 《The Color of Money》(金钱本色)1985----William Hurt(威廉赫特), 《Kiss of the Spider Woman》(蜘蛛女之吻)1984----F. Murray Abraham(梅利亚布罕), 《Amadeus》(莫扎特传)1983----Robert Duvall(罗拔杜维), 《Tender Mercies》1982----Ben Kingsley(宾京士利), 《Gandhi》(甘地传)1981----Henry Fonda(亨利芳达), 《On Golden Pond》(金池塘) 1980----Robert De Niro(罗拔迪尼路), 《Raging Bull》(狂牛)1979----Dustin Hoffman(德斯汀荷夫曼), 《Kramer vs. Kramer》(克蓝玛对克蓝玛)1978----Jon Voight, 《ing Home》(荣归)1977----Richard Dreyfuss, 《The Goodbye Girl》(再见女郎)1976----Peter Finch(彼德芬治), 《Network》(电视台风云)1975----Jack Nicholson(积尼高逊), 《One Flew Over the Cuckoo's Nest》(飞越疯人院)1974----Art Carney(艾兹基利), 《Harry and Tonto》(老人与猫) 1973----Jack Lemmon(积林蒙), 《Save the Tiger》(救虎记)1972----Marlon Brando(马龙白兰度), 《The Godfather》 (教父) 1971----Gene Hackman(真赫曼), 《The French Connection》(密探霹雳火)1970----Gee C. Scott(佐治史葛), 《Patton》(铁血将军巴顿)1969----John Wayne(尊荣), 《True Grit》(独眼龙双枪歼四虎)1968----Cliff Robertson(奇里夫罗拔臣), 《Charly》 (畸人查理) 1967----Rod Steiger, 《In the Heat of the Night》(月黑风高杀人夜)1966----Paul Scofield(保罗史高菲), 《A Man for All Seasons》1965----Lee Marvin(李马荣), 《Cat Ballou》(女贼金丝猫)1965----Rex Harrison(力士夏里逊), 《My Fair Lady》(窈窕淑女) 1964----Sidney Poitier(薛尼波特), 《Lilies of the Field》 (桃李满门)1963----Gregory Peck(格力哥利柏), 《To Kill a Mockingbird》(怪屋疑云)1961----Maximilian Schell, 《Judgment at Nuremberg》1960----Burt Lancaster(毕兰加士打), 《Elmer Gantry》(龙虎干戈)1959----Charlton Heston(查尔登希士顿), 《Ben-Hur》 (宾虚)1958----David Niven(大卫尼云), 《Separate Tables》(鸳鸯谱)1957----Alec Guinness(亚力健力士), 《The Bridge on the River Kwai》(桂河桥)1956----Yul Brynner(尤伯连纳), 《The King and I》(国王与我) 1955----Ernest Bnine, 《Marty》(君子好逑)1954----Marlon Brando(马龙白兰度), 《On the Waterfront》(码头风云)1953----William Holden(威廉荷顿), 《Stalag 17》(战地军魂)1952----Gary Cooper(加利谷巴), 《High Noon》(龙城歼霸战) 1951----Humphrey Bogart(堪富利保加), 《The African Queen》(东非狂暴记)1950----Jose Ferrer(爱路扶连), 《Cyrano de Bergerac》(风流剑客)1949----Broderick Crawford, 《All the King's Men》1948----Laurence Olivier(罗兰士奥利花), 《Hamlet》(王子复仇记)1947----Ronald Colman(朗奴高文), 《A Double Life》1946----Fredric March, 《The Best Years of Our Lives》1945----Ray Milland, 《The Lost Weekend》1944----Bing Cro ... y(冰哥罗士比), 《Going My Way》(与我同行)1943----Paul Lukas(保罗卢卡斯), 《Watch on the Rhine》1942----James Cagney, 《Yankee Doodle Dandy》1941----Gary Cooper(加利谷巴), 《Sergeant York》1940----James Stewart(占士史超域), 《The Philadelphia Story》(旧欢新宠)1939----Robert Donat(罗拔唐尼), 《Goodbye, Mr. Chips》(万世师表)1938----Spencer Tracy, 《Boys Town》1937----Spencer Tracy, 《Captains Courageous》1936----Paul Muni, 《The Story of Louis Pasteur》1935----Victor McLaglen, 《The Informer》1934----Clark Gable(奇勒基宝), 《It Happened One Night》(一夜风流)1932/33----Charles Laughton, 《The Private Life of Henry VIII》(英宫艳史)1930/31----Lionel Barrymore, 《A Free Soul》1929/30----Gee Arliss, 《Disraeli》1928/29----Warner Baxter, 《In Old Arizona》1927/28----Emil Jannings, 《The Last mand》。
西语中al的用法
西语中al的用法西语中，al是一个非常常见的词缀，它可以用于表示“到”、“在”、“向”、“对于”等多种含义。
下面我们来详细了解一下al的用法。
1. 表示“到”al可以用于表示到达某个地方的意思，例如：Voy al cine.（我去电影院。
）Llegaré al aeropuerto a las 8.（我将在8点到达机场。
）2. 表示“在”al也可以用于表示某人或某物在某个地方的意思，例如：Mi hermano está al lado de la mesa.（我的兄弟在桌子旁边。
）El libro está al lado de la cama.（这本书在床边。
）3. 表示“向”al还可以用于表示某人或某物向某个方向移动的意思，例如：Voy al norte.（我往北走。
）El coche va al este.（这辆车往东走。
）4. 表示“对于”al也可以用于表示某人或某物对于某个事物的态度或看法，例如：Algunos están a favor de la ley, mientras que otros están en contra.（有些人支持这个法律，而有些人反对。
）Algunos piensan que el cambio climático es un problema grave, mientras que otros no lo ven así.（有些人认为气候变化是一个严重的问题，而有些人则不这么认为。
）总之，al是一个非常常见的词缀，它可以用于表示“到”、“在”、“向”、“对于”等多种含义。
在学习西语的过程中，我们需要多加练习，熟练掌握al的用法，才能更好地理解和运用西班牙语。
《闻香识女人》的英文影评（大全五篇）
《闻香识女人》的英文影评（大全五篇）第一篇：《闻香识女人》的英文影评《闻香识女人》的英文影评The Scent of a Woman is the kind of film that many would think belongs to a bygone era.While it is frank and contemporary without sugar coating it illustrates the value of character over glitz and how small acts can have long lasting consequences.The film pits two characters who are diametrical opposites.Al Pacino plays the world weary retired Army Lt.Colonel who through a stupid accident looses his sight and his way of life.Chris Donnelly is a young prep school kid on a scholarship whose way of life may be coming to an end owing to the acts of richer kids at the exclusive prep school who pull a stupid stunt.The blind Lt.Colonel needs an escort so that he can go to NYC and have a rip roaring time before he makes a fateful decision.The poor preppy needs to earn a few bucks to travel and is in desperate need of some advice on how to get through his crisis at school.The interplay between the two characters is mind boggling.It is more riveting than the best Grisham novel.Both characters are asked to make life and death decisions that call for them to reach deep into their inner core.The right decision is unhappily the tougher decision to make.Two terrific scenes that are not to be missed.The first is in the New York ballroom where the blind Lt.Colonel teaches the actress Miss Anwar to dance the tango.It is so smooth and dramatic that even a couch potato is tempted to reach for the Yellow Pages in search of dance lessons.The second and most profound is the speech that Al Pacino makes in defense of Chris Donnelly at the prep school disciplinary hearing.It has to go down as one of the great orations of all times.The Scent of aWoman is very satisfying on many levels.The character development is superb, dialogue terrific, glamorous locations and a story line that requires the characters to show themselves to be the people they really are.The film has a lot of funny lines and great drama.(ZZ from IMDB)Film ReviewBy Frederic and Mary Ann BrussatScent of a WomanDirected by Martin BrestUniversal Studios Home Video 01/93 DVD/VHS Feature Film Rand potentially physically dangerousunfettered, unforced, and highly enjoyable.Unfortunately, considering how sound the bulk of the picture is, the final moments, with their overt pandering to a Hollywood-style ending, are a severe l iability.Certainly, such “triumphs” are fun to watch, but they cheapen Scent of a Woman.Would it have cost the production team that much to inject a little realism into the film's last reel?The movie is as long as its storyline demands.It doesn't seem like two and one-half hours, and less time with these characters would have cheated the audience.Aided by an emotive score from Thomas Newman, the picture has opportunities to soar.Hampered by the script's limitations, however, Scent of a Woman falls short of being a masterful productionThere are few films that I consider to be truly great.I don't mean 'great' in the pedestrian sense of “that's great.” I'm talking “true greatness.”Scent of a Woman has true greatness.It has everything that a timeless classic should have.Unforgettable characters, superb acting, a script that is profound and moving;heartwarming at times and heartrending at others.Music that accents eachmoment perfectly and is never obtrusive.Scenes that are so perfectly directed and edited and imbued with such powerful emotions that they leave indelible impressions on the mind and heart.Scent of a Woman revolves around two main characters: Lieutenant Colonel Frank R.Slade(played by Al Pacino)and prep school student Charlie Simms(played by Chris O'Donnel.) Take a moment to step into the internal world of Col.Frank Slade.Take a look around.See anything? You won't, because Col.Slade is blind.His sight was taken from in in a freak accident some five years before.Col.Slade is a man accustomed to power, to barking orders and taking charge in every situation.Even in his prime, he was impossible to live with.Now, years later, he's blind, “handicapped”, and living at the behest of others.He has not adjusted gracefully to this setback.Now meet Charlie Simms.Charlie is an honor student attending Baird prep school.Unlike the other Baird boys, his family is not wealthy, so he's on financial aid.He's a quiet, introspective and kindhearted young man.He's also very intelligent.He needs an easy weekend job to make some extra money.He see's an ad to housesit a disabled man over the weekend, so he investigates it.The man in need of sitting is Col.Slade, of course.Charlie's first encounter with the Colonel is a memorable one, as the Colonel gives him firsthand experien ce of what a military “dressing down” is like delivered at an extremely loud volume.Charlie is obviously a bit put off by this, but the Colonel's family and caretakers plead with him, so he takes the job.Little does he realize that Col.Slade has his own plans, and they don't involve sitting around being baby sat.Once his family leaves, Col.Slade bullies Charlie into accompanying him on a flight to New York by sheer force of his personality.Charlie attempts to resist, but he is simplyoutmanuevered by the wiley Col.Slade.Col Slade explains to Charlie that he going to New York to take “a little tour of pleasures” that he has been denied by his condition.With much persuasion, Charlie finally agrees to go.Charlie's first impression of Col.Slade is that he is loud, crude, egotistical and highly antagonistic.But as Charlie helps the Colonel navigate from one first class New York locale to another, he andthe Colonel gradually develop a strong mutual respect.Over time, he discovers that the Colonel does have a heart, and can in fact be very charming(especially if there's a lady around.) But despite this, Charley has not seen the worst yet.Eventually, he must confront the Colonel's most deeply hidden fears and outrage concerning his inability to function as he once did.This moment in the movie is *charged* with emotion as both Pacino and O'Donnel deliver riveting performances.In fact, there are so many standout performances in this movie that the Motion Picture Association should slap it with an anti-trust suit;)Another thing this film does exceptionally well is balance the characters of Frank Slade and Charlie Simms.Slade is an outspoken, overbearing bully who has grown weary of the world and with his own failures.Charlie is an earnest and kindly young man who believes that all mistakes can be made right.When they first meet, it seems clear that there is a major power imbalance, with Col.Slade brutally running over Charlie's quiet protestations.But as these two get to know one another better, it becomes clear to both the viewer and to Col.Slade that Charlie possesses great strength, but it is a quieter strength than the Colonels.It is the strength of true integrity and conviction.There are many beautiful scenes where these two men discoverprofound truths about themselves and each other as a result of their conflicts.Scent of a Woman is a rare and beautiful movie.It's a movie about how one man is lost in despair, and how a younger man helps him find his way.There are so many outstanding aspects to this movie that I could go on for pages, but instead I'll just ask you to watch it.Prepare to be amazed.穿帮镜头·西门斯和斯莱德在公寓见面的时候，斯莱德的酒杯和酒瓶里的威士忌在反复变化。
（完整word版）教父英文影评
（完整word版）教父英文影评1教父 The Godfather review by ROGER EBERTWe know from Gay Talese's book Honor Thy Father that being a professional mobster isn't all sunshine and roses.More often, it's the boredom of stuffy rooms and a bad diet of carry-out food, punctuated by brief, terrible bursts of violence. This is exactly the feel of "The Godfather," which brushes aside the flashy glamour of the traditional gangster picture and gives us what's left: fierce tribal loyalties, deadly little neighborhood quarrels in Brooklyn, and a form of vengeance to match every affront.The remarkable thing about Mario Puzo's novel was the way it seemed to be told from the inside out; he didn't give us a world of international intrigue, but a private club as constricted as the seventh grade. Everybody knew everybody else and had a pretty shrewd hunch what they were up to.The movie (based on a script labored over for some time by Puzo and then finally given form, I suspect, by director Francis Ford Coppola) gets the same feel. We tend to identify with Don Corleone's family not because we dig gang wars, but because we have been with them from the beginning, watching them wait for battle while sitting at the kitchen table and eating chow mein out of paper cartons."The Godfather" himself is not even the central character in the drama. That position goes to the youngest, brightest son, Michael, who understands the nature of his father's position while revising hisold-fashioned ways. The Godfather's role in the familyenterprise is described by his name; he stands outside the next generation which will carry on and, hopefully, angle the family into legitimate enterprises.Those who have read the novel may be surprised to find Michael at the center of the movie, instead of Don Corleone. In fact, this is simply an economical way for Coppola to get at the heart of the Puzo story, which dealt with the transfer of power within the family. Marlon Brando, who plays the Godfather as a shrewd, unbreakable old man, actually has the character lead in the movie; Al Pacino, with a brilliantly developed performance as Michael, is the lead.But Brando's performance is a skillful throwaway, even though it earned him an Academy Award for best actor. His voice is wheezy and whispery, and his physical movements deliberately lack precision; the effect is ofa man so accustomed to power that he no longer needs to remind others. Brando does look the part of old Don Corleone, mostly because of acting and partly because of the makeup, although he seems to have stuffed a little too much cotton into his jowls, making his lower face immobile.The rest of the actors supply one example after another of inspired casting. Although "The Godfather" is a long, minutely detailed movie of some three hours, there naturally isn't time to go into the backgrounds and identities of such characters as Clemenza, the family lieutenant; Jack Woltz, the movie czar; Luca Brasi, the loyal professional killer; McCluskey, the crooked cop; and the rest. Coppola and producer Al Ruddy skirt this problem with understated typecasting. As the Irish cop, for example, they simply slide in Sterling Hayden and let the character go about his business. Richard Castellano is an unshakable Clemenza. JohnMarley makes a perfectly hateful Hollywood mogul (and, yes, he still wakes up to find he'll have to cancel his day at the races).The success of "The Godfather" as a novel was largely due to a series of unforgettable scenes. Puzo is a good storyteller, but no great shakes as a writer. The movie gives almost everything in the novel except the gynecological repair job. It doesn't miss a single killing; it opens with the wedding of Don Corleone's daughter (and attendant upstairs activity); and there are the right number of auto bombs, double crosses, and garrotings.Coppola has found a style and a visual look for all this material so "The Godfather" becomes something of a rarity: a really good movie squeezed from a bestseller. The decision to shoot everything in period decor (the middle and late 1940s) was crucial; if they'd tried to save money as they originally planned, by bringing everything up-to-date, the movie simply wouldn't have worked. But it's uncannily successful as a period piece, filled with sleek, bulging limousines and postwar fedoras. Coppola and his cinematographer, Gordon Willis, also do some interesting things with the color photography. The earlier scenes have a reddish-brown tint, slightly overexposed and feeling like nothing so much as a 1946 newspaper rotogravure supplement.Although the movie is three hours long, it absorbs us so effectively it never has to hurry. There is something in the measured passage of time as Don Corleone hands over his reins of power that would have made a shorter, faster moving film unseemly. Even at this length, there are characters in relationships you can't quite understand unless you've read the novel. Or perhaps you can, just by the way the characters look at each other.2教父 The GodfatherTwenty-five years' hindsight wasn't necessary to prove the brilliance and authority of ``The Godfather,'' Francis Ford Coppola's classic epic of a Mafia family in America.It was clear, even when the movie opened in 1972, that Coppola had created a landmark in American cinema. It remains the high point of his career. What we couldn't see then was how wide the film's influence would spread. There's barely a gangster movie, a family epic or a movie about Italian Americans that doesn't inevitably use ``The Godfather'' as a frame of reference. It's more than a standard-bearer for critics and filmmakers -- it's a monument.Today, as the Castro Theatre launches a two-week revival of ``The Godfather'' in a new 35mm print with a digitally enhanced stereo soundtrack, it's fascinating to consider the directions that Coppola and his actors have taken in the quarter- century since they made the movie, which was based on Mario Puzo's best-seller.TOUGH TO MATCHFor Coppola, the struggle to match ``The Godfather's'' achievement has rendered mixed results. He was only 31 when he was signed to direct ``The Godfather,'' and had only a handful of features to his credit: the coming-of-age comedy ``You're a Big Boy Now,'' the musical ``Finian's Rainbow,'' the bleak character study ``The Rain People.''Based on that work, no one could have anticipated the confidence and depth he would bring to ``The Godfather,'' or to its first sequel two years later, ``Godfather II.'' (Does anyone remember that Coppola invented the use of Roman numerals in movie sequels?)Trying to equal that success and find new projects as large as his imagination and ego would bring Coppola repeatedly to near-disaster. ``Apocalypse Now'' became a 16-month location shoot from hell and nearly killed him, ``One From the Heart'' wiped him out financially and ``The Cotton Club'' was as empty as it was flashy.To recover, Coppola became a hired gun and delivered ``The Outsiders,'' ``Rumble Fish'' and ``Peggy Sue Got Married.'' He made the conventional ``Tucker: The Man and His Dream,'' the overblown ``Bram Stoker's Dracula'' and most recently the embarrassing ``Jack.'' But even as he lost hismomentum and self-assurance, it was impossible to dismiss him -- or to stop hoping he would recapture ``The Godfather'' magic.For his actors ``The Godfather'' was also a benchmark. Marlon Brando revived a slumbering career with his masterful, Oscar-winning icon Don Vito Corleone -- but thereafter become lazy and disdainful of his profession.CHALLENGE FOR PACINOAl Pacino, who played the more challenging role of reluctant heir Michael Corleone, has won an Oscar, eight nominations and never lost his spark on screen. Diane Keaton, nearly unrecognizable today as his naive wife, Kay, is probably the biggest surprise: There's nothing in ``The Godfather'' to indicate the brilliant comic instincts of ``Annie Hall'' or ``The First Wives Club'' or the emotional transparency of ``Marvin's Room.'' Twenty-five years may have reordered our perceptions of Coppola and his cast, but the basic fact of his film's greatness is undiminished. In scene after scene -- the long wedding sequence, John Marley's bloody discovery in his bed, Pacino nervouslysmoothing down his hair before a restaurant massacre, the godfather's collapse in a garden -- Coppola crafted an enduring, undisputed masterpiece.。
卡尔维萨诺市分类收集实用指南说明书
COMUNE DI CALVISANOGUIDAPRATICA ALLARACCOLTADIFFERENZIATARecycling is simpler with usAvec nous, le tri sélectif est plus simple你我同在，简化分类收集لهسأ ةمامقلا فينصت حبصي انعمPrima di gettareC.B.B.O. ama ilterritorio in cui vivi, per questo vuole aiutarti al meglio nella gestione della raccolta differenziata.un rifiuto,pensa!La realizzazione di questo opuscolo informativo è stata resa possibilegrazie al supporto delle seguenti realtà del nostro territorio:Guida progettata e realizzata da C.B.B.O. s.r.l.con la collaborazione dell’agenzia creativa Super! di Brescia e stampata dall’agenzia Premier srls di Padenghe sul Garda (BS)Lettera del Sindacodi Calvisano ai concittadini.CASE DELL’ACQUACare cittadine e cari cittadini,con l’uscita dell’Ecoca lenda rio di C.B.B.O. vogli mo cogliere l’oc-ca sione per ringra zia rVi del Vs. costa nte impegno in una diligenteraccolta dei rifiuti, che ha permesso di mante-nere anche quest’anno, caratterizzato dall’e-mergenza sanitaria da Covid-19, percentuali di ra ccolta differenzia ta pa ri a d oltre l’85%, ben al di sopra della media provinciale.Questi ottimi risultati testimoniano ancora una volta come la nostra comunità sia sempre at-tenta alla tutela dell’ambiente, maturando un vero e proprio senso civico su tale fondamen-tale aspetto.Nel 2020, al fine di favorire un minore impatto a mbienta le e una ma ggiore efficienza nella gestione della raccolta differenziata dei rifiuti, abbiamo riorganizzato una parte del servizio a partire da giugno 2020, portando la raccolta porta a porta della carta e del vetro/metalli da quindicinale a settimanale.I nuovi servizi ci hanno permesso il raggiungi-mento degli obiettivi che, insieme a C.B.B.O., ci siamo posti ormai da diverso tempo, oltre che a tradursi in una effettiva maggior como-dità per tutti voi citta dini gra zie a d una fre-quenza di raccolta più tempestiva.Tenia mo inoltre a sottolinea re che la nostra Amministra zione Comuna le, a cca nto a l fa tto di essere quindi in prima linea per gestione sostenibile del ciclo dei rifiuti, sta porta ndo avanti con impegno, risorse e attenzione tutto qua nto necessa rio per contra sta re l’a bba n-dono dei rifiuti; un ottimo risultato è stato ot-tenuto avendo istituito un servizio abbandoni che costa ntemente provvede a rimuovere il materiale abbandonato da persone incivili. Purtroppo sono a ncora molti i ca si di a b-ba ndono lungo le stra de, sopra ttutto quelle di ca mpa gna ; tra tta si di gesti certa mente inqua lifica bili da l punto di vista civico e del decoro, senza dimenticare che il costo per la rimozione e per la pulizia ha impatto sull’inte-ra comunità.Uno degli obiettivi principa li per il prossimo anno è di rafforzare il contrasto a questo fe-nomeno, mettendo in ca mpo delle soluzioni efficaci in grado di poterlo limitare e, altret-tanto, investendo in strumenti e risorse al fine di identificare i responsabili di queste azioni, ricordando peraltro che trattasi di comporta-menti dannosi perseguibili anche a norma di legge.L’auspicio dell’Amministrazione è quello quin-di di continuare nella valorizzazione del nostro territorio, confidando nel Vs. impegno ad es-sere “cittadini attivi” e, insieme agli interventi dell’Amministrazione stessa, di tutelare l’am-biente che ci circonda.Per ultimo, ma non per importanza, vogliamo evidenziare che il comune di Calvisano, nella volontà di essere presente in modo concreto, in un momento così delicato, ha previsto delle agevolazioni a favore di tutta la cittadinanza.Ringra zia ndoVi a ncora per l’a ttenzione e la vicinanza, cogliamo l’occasione per porgere a tutte le famiglie della nostra comunità i nostri più sinceri auguri per un anno nuovo ricco di soddisfazioni.Il SindacoAngelo FormentiniAssessore Ecologia e Ambiente Alessandro Vaccariةمامقلا عيمجت حبصأ ماعلا اذه يفعيمجلل حاتم اهفينصتو!!This year sorted collection is for everyone!垃圾分类，全名有责Cette année, le tri sélectif a été pensé pour tout le monde!تررق C.B.B.O. فينصتو عيمجتل ايلمع لايلد مدقت نأ ماعلا اذه ةقيرط حرشل ،ةددعتم تاغلب تامولعم ىلع يوتحي ثيحب ةمامقلا ىلإ ليلدلا اذه ىوتحم مجرُت دقو .ةميلس ةقيرطب تايافنلا فينصت عمتجم تاجايتحا يبليل ،ةيسنرفلاو ةينيصلاو ةيبرعلاو ةيزيلجنلإا تاغللانم ءاوس ،نينطاوملا عيمج نيب مهافتلا ززعيو قارعلأا ددعتم تامدخل ميلسلا مادختسلااب قلعتي اميف ،بارغلأا نم وأ نييلاطيلإا اهب موقت يتلا ةيرضحلا ةفاظنلا C.B.B.O. اهتامدخ رفوتت يتلاواهيلإ راشملا تايدلبلا يف ةيئيبلا.ىلع حاتم هنأ امك ،ليلدلا نم ةيقرولا ةخسنلا ىلع لوصحلا نكمي ـل ينورتكللإا عقوملا C.B.B.O. كنكمي .فا يد يب فلم ةغيصب.اهيف ميقت يتلا ةيدلبلاب صاخلا مسقلل عوجرلاThis year C.B .B .O. decided to put together a practical guide to separate waste collection with multilingual information, able to explain how to correctly separate waste. The contents were then translated into English, Arabic, Chinese and French to embrace a multi-ethnic community and promote understanding by all citizens, both Italian and foreign, on how to properly use the urban hygiene services manned by C.B .B .O. and which eco-services are available in their respective Municipalities.The guide is accessible in paper form and is also available on the C.B.B.O. website in pdf format, by going to the section dedicated to your Municipality of Residence.今年，C.B.B.O.决定开展多语言信息实践，详细解释如何正确地完成垃圾分类。
culaccino意思
culaccino意思
在探索不同文化中的词汇时，我们经常会遇到一些既有趣又富有表现力的词语。
今天，我们要探究的是一个意大利词汇“culaccino”，它的含义和用法。
**culaccino的意思**
"culaccino"是一个意大利语中的非正式词汇，通常用来描述一种特殊的印记或形状。
字面上，这个词可以追溯到意大利语中的“culo”，意为臀部，而“accino”则是一个小的后缀，常用来表示小的或者可爱的东西。
综合起来，"culaccino"直译为“小臀部”或“可爱的臀部印记”。
然而，在日常用语中，"culaccino"有着更为具体的含义。
它通常用来形容当液体（如水、咖啡或酒）被洒在桌布或纸张上时，形成的一种类似臀部的印记。
这种印记边缘清晰，中心较深，形状确实与臀部的轮廓有几分相似。
**使用情境**
在意大利，当人们在咖啡馆或餐厅用餐时，如果不小心洒落了饮料，可能会有人幽默地说：“Guarda, un culaccino!”（看，一个culaccino！）。
这个词在这种情况下不仅描述了实际的印记，也带有一点轻松诙谐的气氛。
此外，"culaccino"有时也被用来比喻某物的形状或轮廓像臀部印记一样，比如某些家具或物体的设计。
**文化意义**
"culaccino"不仅仅是一个描述物体形状的词汇，它也体现了意大利文化中对日常小事的关注和幽默感。
意大利人常常以这种轻松的方式来面对生活中的
小意外，这也是他们生活方式的一部分。
西班牙语动词ir用法大全
西班牙语动词ir用法大全1、ir+a 去某地（a+el=al）ej：ir a la playa 去海滩ir al campo 去农村el parque 公园el parque de diversiones 游乐场la piscina 游泳池el gimnasio 健身房el centro comercial 商业中心el museo 博物馆el restaurante 饭店el cine 电影院la escuela 学校la tienda 商店la biblioteca 图书馆la iglesia 教堂a. XX去哪儿？¿Adónde vas? 你去哪？b. 加上时间：a+la（las）+小时+y+分钟例如：¿Adónde van los chicos a las siete y media?那些孩子七点半去哪儿啊？2、一般疑问句：主语和动词位置调换即可。
例如：¿Ustedes van a la biblioteca? 您们去图书馆吗？3、 ir+a+inf. （动词原形）将要去做某事例如；Voy a visitar México. 我要去参观墨西哥。
4、 ir a por algo. (西班牙地区使用，有寻找的意思。
）Mamá, voy a por las llaves. （同样的意思，Mamá voy a buscar las llaves.）妈妈，我去拿钥匙。
ir a por algo, 有去寻找的意思。
Mum, I am going to look for my keys.5、ir a por alguién.西班牙地区使用，有两种意思。
）voy a por ti 意思是，voy a buscar por ti. 我去找你。
例句：Voy a por ti, cuando llegues al aeropuerto.你到机场的时候，我去接你。