關於 i want a book in french ，我們在網路上蒐集到這些相關的討論、資訊與評價

[Paris pastry shop / 巴黎甜點店] Philippe Conticini 主廚的 Gâteaux d’émotions 新店開幕與簡短訪問 / Opening of Gâteaux d’émotions in Paris 16e & short interview with the chef Philippe Conticini (English below)

Philippe Conticini 主廚的麵包甜點店 Gâteaux d’émotions 在 16 區開幕，這是他巴黎三家、東京兩家店中第一家販賣麵包與維也納麵包類商品的店鋪、也是巴黎唯一一家在店內就有廚房能生產製作的店家（其他商店由中央廚房生產商品後供應）。去年已經在〈高貴的日常—麵包成為巴黎時尚新寵〉一文中，與大家分享過 #麵包在巴黎重新受到注目的趨勢，現在越來越多甜點主廚們也加入戰局，想必未來會相當精彩，一般的街坊麵包店可能也會開始感覺到一些壓力。

Philippe Conticini 主廚與過去曾自行開業、也曾在上海藍帶學院擔任講師的 Sébastien Crouzat 主廚合作，推出一系列的麵包，包括長棍麵包、鄉村麵包、黑麥麵包與各種維也納麵包等。這家位於 16 區的店面處於一條繁華的商店街上（42 Rue de l’Annonciation, 75016 Paris），平日人潮熙來攘往，未來也即將推出適合午餐時間的三明治等商品。

本次重點除了品嚐麵包之外，還有 Conticini 主廚歷經兩年時間研發出的蛋糕捲。雖然是受到日本蛋糕捲的啟發，但主廚特別強調這和日本蛋糕捲完全不同。他觀察到日本人喜歡的蛋糕質地非常柔軟濕潤、像海綿一般，但「這不是歐洲人的口味」，他的蛋糕捲用了比較少的蛋與蛋黃、多了一些水分，質地較日本蛋糕捲酥鬆、更易融於口（fondant）。

Philippe Conticini 主廚是巴黎甜點界非常重要的人物，輩份和 Pierre Hermé 主廚相當，是知名的「Pâtisserie des Rêves」（夢幻甜點店）創始人之一，我也曾經在〈法國甜點大師群像〉專欄中介紹過他。當天他人在現場，我抓緊機會請教了一些我一直很關注、目前飲食界也很感興趣的問題。雖然有些問題和開幕主題無關，但主廚仍然很親切地為我解說：

Q：您曾經出版過一本《無糖甜點》食譜書（原文書名為《Gâteaux et gourmandises sans sucre》），請問您 #怎麼看待現今甜點減糖的潮流呢？您是不是也認為目前消費者越來越追求「健康的甜點」？

A：我認為大家被誤導了。的確現代消費者越來越希望品嚐到更為健康的甜點、減糖也是趨勢，但是 #我不認為甜點應該要不甜或無糖。我們為什麼要吃甜點，就是因為甜味帶來的愉悅感，凡事都應該講求平衡。重點並不是「糖是不好的東西」，而在於「#我們該如何攝取糖」。

Q：您怎麼看待 #純素（#vegan）的甜點呢？

A：我曾經品嚐過 Michaël Bartocetti 主廚（現任 Four Seasons Hotel George V, Paris）的純素甜點，真的非常了不起，好吃得不得了，不論技術、外型還是口味都無懈可擊。但每個人有自己風格，#製作純素甜點不是我個人想做的。

Q：對您來說，甜點最重要的是味道，那您是否不關心外型呢？

A：外型也是重要的，#美味跟美麗的外表都是對製作甜點來說重要的考量因素。但是我不會刻意雕琢外型，（指著桌上的蛋糕捲）你看這個蛋糕捲，完全沒有裝飾，但是味道完完全全是我想要的樣子，我花了兩年的時間研究。它很好吃，大家都會忍不住再來一塊（又拿了一塊，並示意我也再吃一塊）。

Q：您的甜點是不是也沒有使用任何色素呢？

A：對，我的作品幾乎都沒有使用任何色素，像這個蛋糕捲甚至完全是裸露的。我們要思考「#為什麼要使用色素」。

雖然主廚的回答很簡短，但卻非常切中核心，許多觀點都值得大家思考。接下來就請點開照片一ㄧ欣賞該店商品！

*****
The chef Philippe Conticini opened his 3rd “Gâteaux d’émotions" boutique in the 16th arrondissement in Paris. This is the first boutique among all his boutiques (in Paris & Tokyo) that offers a full bread & viennoiserie product line and the first one in Paris with a kitchen behind so that on-spot fabrication is available. I have talked about in my previous article “Bread is a Rising Star in Paris” that bread is now under the spotlight and the boom of new style bakeries. Many pastry chefs have apparently noticed the trend and are now trying to catch up, take Cédric Grolet for example. As the line separating a boulangerie and a pâtisserie gets blurred even with regard to high end brands, I’m very looking forward to future innovations and cross-disciplinary collaborations.

The chef Philippe Conticini has invited Sébastien Crouzat, former owner of his own bakery and chef boulanger at Le Cordon Bleu Shanghai, to create a complete range of bread for this Gâteaux d’émotions boutique (now Pain d’émotions as well), such as baguettes, country breads, rye bread, viennoiseries, etc. Situated on 42 rue de l’Annonciation, a busy street full of shops and restaurants, this bakery will soon offer sandwiches and other savoury goods for lunch time.

Besides the bread, the chef Conticini has also launched a Japan-inspired rolled cake. The chef has spent 2 years to create a recipe that is much more “fondant” (easy to melt in the mouth) than its Japanese cousin, which is extremely soft, moist and spongy. Less eggs, yolks and more liquid are used. The chef has emphasised that “it is exactly how I want it”.

Internationally renowned and respected just as Pierre Hermé, Philippe Conticini is a great French pastry chef that has co-founded Pâtisseries des Rêves (closed permanently). I’ve introduced him in my “French pastry chef portraits” column several years ago but had not had chance talking to him personally until that day. I asked several questions related to topics that I’m really interested in and the chef was very kind to share with me his ideas:

Q: You’ve published a book "Gâteaux et gourmandises sans sucre” ("Sugar-free Cakes and Delicacies”) before, I wonder how you think about the current trend of pastries with “less sugar”? Have you also found that consumers nowadays are looking for “healthier” pastries?

A: I think people are misled (with regard to the sugar-free concept). It’s true that consumers are looking for healthier pastries, and less sugar is the trend, but I don’t think we should promote sugar-free pastries. The reason why people are having pastries or desserts is because we’re looking for “pleasure”. Sugar is not a bad thing, what’s important is the way we consume it and how we have a balance on everything in life.

Q: What’s your opinions on vegan pastries?

A: I’ve tasted the vegan pastries made by the chef Michael Bartocetti (head pastry chef of Four Seasons Hotel George V Paris and I really loved them. They were fantastic in terms of skills, appearance and taste. But everyone’s got his way and style. Vegan pastries are not my thing.

Q: “Taste” is the most important thing for you when making pastries, what do you think about the visual appearance of pastries? Is it less important?

A: Visual appearance is important as well! Both good taste and beautiful look matter when it comes to make pastries, but I don’t focus on making things beautiful. You see this rolled cake? There’s no decoration at all, but the taste is just how I want it. I spent two years on achieving this status. It’s really delicious and no one can resist having another slice.

Q: Do you not use colorants on your pastries?

A: That’s right. I hardly use any colorants on my pastries. Take this cake for example, it’s plain and naked. We should reflect on the question “why we need to use colorants”.

These are short answers, they’re very much to the point. Hopefully they’re as inspiring for you! Don’t forget to click on the photos and have a closer look on what the chef has to offer!

🔖 You might also be interested:

My pastries tell who I am: Philippe Conticini: https://tinyurl.com/trh23u2

Bread is a rising star: https://tinyurl.com/t8bn8cj

🔖 延伸閱讀：

我的甜點說明我是誰 － Philippe Conticini：https://tinyurl.com/trh23u2

高貴的日常 － 麵包成為巴黎時尚新寵：https://tinyurl.com/t8bn8cj

#yingspastryguide #pastrychef #philippeconticini #gateauxdemotions

Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share

The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

[Okapi Column / 博客來OKAPI 專欄］#書桌上的甜點時光 / The pâtissière at her desk (for English, please click “see more”)

經過長時間的規劃與細心設計，我在 #博客來Okapi 的新甜點專欄終於上線了！未來我將會在這裡和大家分享我喜歡的 #甜點相關書籍、並帶領大家 #從歷史文化的角度，#深入看法式甜點在法國人生活中扮演的角色。

專欄第一篇要和大家介紹的是我過去這一年來最喜歡的一本書《#甜點教父河田勝彥的鄉土甜點之旅》（繁體中文版由瑞昇文化出版）。在日本有著崇高地位的河田主廚不僅是個巨匠，更是一個認真的研究者。我真心認為，光憑這本書裡呈現的內容，法國就應該頒給他騎士勳章：

🔖「他記錄旅法期間所見所聞的寶貴作品，收錄了法國全境10個區域共140種甜點。每個食譜前面，都會介紹該甜點的來源故事、相關文獻紀錄，並說明他如何加入個人特色、改良原有的做法，有時也會提到他當時品嚐該甜點的回憶。他的書寫超越了精確的甜點食譜，充滿了對法國甜點文化、風土人情的深厚情感，也是讓本書更加獨特的原因。」

不管你是個甜點人、還是甜點愛好者、抑或喜歡法國歷史文化，你一定都會被本書豐富的內涵折服。快點開連結深入了解河田主廚與本書的魅力！

*****

My new column on French pastry on Okapi is now online! I’ll be sharing my favorite books and talking about the importance of pastries in daily life in France from a cultural and societal perspective.

“La Belle Histoire de Gâteaux Provençaux” is the first book I want to share with you in the first post. Chef Katsuhiko Kawada, the author of the book, is a maestro in Japan. He has trained hundreds of pâtissiers in Japan and influenced a whole generation. Besides being a pastry chef, he’s no doubt a serious researcher. He’s collected numerous recipes from all over France and has reinterpreted them by adding in modern modifications and his own ideas. His pastry shop “Au Bon Vieux Temps” in Tokyo is regarded as “a museum of French pastries”.

“140 recipes from 10 regions in France are covered in this book, in which he also shares his experiences as a pâtissier and a traveler in France back in the 60s and 70s. A brief history of the specific pastry and the story of him encountering it are presented before each recipe. His writing is far more than just a recipe book but a memoir of a great pastry chef, which makes this book especially charming and interesting to read.”

Whether you’re a pâtissier, a pastry lover, or a person who’s interested in history and culture, this book is a not-to-miss. Click on the link below now and discover more!

#yingsbookreviews #河田勝彥 #katsuhikokawada Au Bon Vieux Temps（オーボンヴュータン）

This is my challenge to learn to speak French in 12 hours on a livestream. I am a complete beginner and have never studied any French before. I have set up back-to-back conversations with French tutors from around the world (including from France, Canada, Cameroon, and Senegal) and I’m going to do my best to try and learn as much French as possible in one continuous 12 hour livestream, which is the longest YouTube allows you to stream and save it as a video afterwards. This video will showcase my raw process of language learning. I’m curious to see how much I can learn to speak conversationally by the end of this video, but I also think this will be a useful 12-hour long French class if you’re looking to learn French from scratch! So come study with me!

If you would like to get in touch with the French tutors I learned with today, here is their contact information in order of when they appeared in the video. Most of them have Italki pages where you can directly book time to learn languages.

Elisa: https://www.italki.com/teacher/5909162 and https://www.youtube.com/channel/UCbj8Qov-9b5WTU1X4y7Yt-w/
Marine: https://www.italki.com/teacher/5559679
Kevin: https://www.italki.com/teacher/6489554
Aurélie: https://www.italki.com/teacher/6408013
Rox: https://www.italki.com/teacher/6120639
Samuel: https://twitter.com/samuelberubexan
Kevin Abroad: https://www.youtube.com/c/KevinAbroad/
Alexandre Laprise: https://www.italki.com/teacher/8184931
Lexi: https://www.italki.com/teacher/6529507
Mesumbe: https://www.italki.com/teacher/7091190
Alexandre Champagne: https://www.italki.com/teacher/4882157

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訂閱: https://www.youtube.com/channel/UCKC6E5s6CMT5sVBInKBbPDQ?sub_confirmation=1

暗網? 陰謀論?: https://www.youtube.com/watch?v=W5RVLpFkAKQ&list=PLGzW5EwcApFuqKoowMHS9v8W34vIPyrtk

鬼故事: https://www.youtube.com/watch?v=H4rmkFI1ik0&list=PLglqLngY6gv5BCwaoP-q6DOwUmw1lIusF

我的100K成長故事: https://www.youtube.com/watch?v=Kdhtp6A6YJE

破解Kate yup事件是假的! 不是綁架! 不要被騙! (Facebook上的證據): https://www.youtube.com/watch?v=2NJVt56ORWo&t=2s

曼德拉效應: https://www.youtube.com/watch?v=OMutzRIE_uE&list=PLglqLngY6gv5BCwaoP-q6DOwUmw1lIusF&index=17&t=5s

深刻個人經歷: https://www.youtube.com/watch?v=4Roa6Vs1qWc&list=PLglqLngY6gv4mm_doLUUJx4zq5KvLJ2VE

用24小時學流利的印度話| 揭露學習15大方法 (用$20請騙子補習老師)

挑戰24小時學流利的印度話 (請了騙子老師!!!)

挑戰24小時學一個新語言 (請了騙子老師!!!)

我挑戰24小時內學會印度話!!! (請了騙子老師)

我24小時內學會印度話!!! (請了騙子老師)

BB仔時發出ee oo聲, 原來是世界各地各種語言.



長大後我們母語才因為環境因素而慢慢會建立.

所以其實小時候的我們已經是精通所有語言的天才bb!


有報導指2024年印度將會成為全球最多人口的國家. 而我住的城市一向都是很多印度人的.

所以我要學印度話, 我覺得對於我4年後的將來也會好有幫助.

今次評價成功的準則就是24小時後, 到我小時候常常去吃飯的印度餐廳用印度話order到一餐. 而要他們以為我真的是印度人.

Day 1

(學習口音)

Ok, 我們的口音學到了一點點. 但學一種新語言, 最重要的根基還是學基本詞匯

Su=shoe

Police=polise

Hindi (印地話) 是印度語言裡面最出名的. 相信也是最簡單. 30分鐘應該就可以. (Show learn Hindi in 30 minutes)

NamasTe=你好

Meraa naam= 我的名字是

hai= 存在

aap se milkar khushi hui= 很高興認識你

DHanyavaaD= 謝謝

bahuT= 很多

svaagat hai= 不用客氣

Phir milenge= 再見

haan= 是

thodi bahut= 一點點

因為印度跟香港一樣曾有一段很長的時間是英國籍民地.


Hindi本身分開兩種說話方式

如果要跟一些印度本地居民用言語溝通, 可以用 ‘Urdu’ 即是比較俚語一點的. 正式一點的埸合就需要用sanskrit, 書面語.

這個知識好重要, 因為之後叫東西吃幾多個份量一定要講清楚.


但我覺得在此學生字這些不能確定自己能100%完成到叫外賣這個任務. 所以我決定網上聘請一個私人美女導師幫一幫手.



我就去睡一睡先.



發現印度語跟中文很相似的地方是喜歡用portmanteau. 即是將兩個字合為一個全新的意思.

像印度話?面 ‘phir milenge’ 是再見的意思. 第一個Phir的意思是 ‘再一次’ 而milenge是 ‘我們會見面.

再一次, 我們會見面.



每一個語言字和意思的結構都是不同

Hindi一個句子的結構是 (subject) (object) (verb) 名詞/形容詞...




I want to make a food order

Main, ek khaana ordar karana chaahata hoon

(I). 1 Food order). (I want to one)



我就想叫這個Tandoori Lamb champ,



Main tandoree memne chaimpiyan ordar karana chaahata hoon



大家可以看到比之前只是要 ‘food order’ 少了 “ek” 作天學到的1數目字. 但句字的前後也是一樣的.



我覺得聆聽比只懂得講話來得更重要.



(需要懂得聽到的印度話)



救命: bachao

一定: nishchit hee

歡迎: Aapaka svaagat hai

嘩: Vaah!


Namaste

Main, ek khaana ordar karana chaahata hoon

Main tandoree memne chaimpiyan ordar karana chaahata hoon

Yah kitane ka hai (how much is it)
Ok! Phir milenge!


（watch Slumdog millionaire)
-貧民窟里的百萬富翁


開始做暗網仔其中一樣最叻的事, 就是看歷史.




早於5萬5千年前人類已經居住印度. Hindi印地話公元7世紀開始出現. 今時今日所講的Hindi來自新德里, 而1948年印度政府獨立後, 1949年9月14號印地話正式成為印度的官方語言, 推翻之前英國政府所定的Urdu語言.



為了讓自己今晩能跟dou si有最好的接觸: 我決定買了Hindi最出名的人生哲學書 ‘the monk who sold his Ferrari’ 講一個訴訟律師25歲方hei職業然後往喜馬拉雅山的洗dik心ling之lui.



(Say some parts of the book)

The constant pressure and exhaughsting schedule of a world class trial lawyer had also broken his most important- and perhaps most human-endowment: his sprit.



(Then use those words in sentence grammars)





Namaste adhyaapak! mai merra naam暗網仔 aap se milkar khushi hui



Hi teacher my name is...nice to meet you)



Namaste mahoday, main ek aadesh banaana chaahata hoon


[How to write hindi 印地語]



我真心覺得學寫印度話識一點簡單的英文比較容易翻譯.

原來印度話的重要發音是 ‘a’ 聲. 差不多所有的字都會有這個發音.



表演時間!!!


印度話另一樣特色就是用一clothesline (晾衣繩) 連起每一個字

其實經歷過這3天我最大的感受是看到以前讀書的自己. 第一天開始總是精力充沛, 但真正學到的東西都是最表面的東西. 也當然喜歡玩.


其實我之前在日本住了幾個月. 之後常常後悔一句日文也沒有學到. 只是用英文跟其他人溝通. 但現在我覺得...不學也ok. 因為我學習能應該只是很一般!

用24小時學流利的印度話 (請了騙子補習老師!!!)

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