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The 2-beating combinations (referred to above as "bombs") are called slams, and their rules are: A single 2 is beaten by any quartet or a double sequence of 3+ pairs (same as above) A pair of 2s is beaten by 2 consecutive quartets or a double sequence of 5+ pairs; A triplet of 2s is beaten by 3 consecutive quartets or a double sequence of 7+ pairs
The Đại Việt sử ký toàn thư (chữ Hán: 大越史記全書; Vietnamese: [ɗâːjˀ vìət ʂɨ᷉ kǐ twâːn tʰɨ]; Complete Annals of Great Việt) is the official national chronicle of the Đại Việt, that was originally compiled by the royal historian Ngô Sĩ Liên under the order of the Emperor Lê Thánh Tông and was finished in 1479 during the Lê period.
Later, in 1920, French-Polish linguist Jean Przyluski found that Mường is more closely related to Vietnamese than other Mon–Khmer languages, and a Viet–Muong subgrouping was established, also including Thavung, Chut, Cuoi, etc. [13] The term "Vietic" was proposed by Hayes (1992), [14] who proposed to redefine Viet–Muong as referring to ...
Sino-Vietnamese vocabulary (Vietnamese: từ Hán Việt, Chữ Hán: 詞漢越, literally 'Chinese-Vietnamese words') is a layer of about 3,000 monosyllabic morphemes of the Vietnamese language borrowed from Literary Chinese with consistent pronunciations based on Middle Chinese.
Its name La Gi or Lagi [laː˧˧:ɣi˧˧] in Kinh language was originated from ladik [1] [laː˧˧:ɗɨt˧˥] in Cham language, which means "swamp" to reflect the situation of this area before the 1960s. Under the Republic of Vietnam regime, La Gi was the provincial capital of Bình Tuy province (present-day
Cuối, known as Thổ, [2] is a dialect cluster spoken by around 70,000 Thổ people in Vietnam and a couple thousand in Laos, mainly in the provinces of Bolikhamsai and Khammouane. Phonology [ edit ]
Công_hoà_xa_hoi_chu_nghia_Viêt_Nam.oga (Ogg Vorbis sound file, length 6.5 s, 393 kbps, file size: 314 KB) This is a file from the Wikimedia Commons . Information from its description page there is shown below.
A clown with "happy face" painting. In the circus, one of the roles that clowns play is engaging in silliness. When clowning is taught, the different components of silliness include "funny ways of speaking to make people laugh", making "silly face[s] and sound[s]", engaging in "funny ways of moving, and play[ing] with extreme emotions such as pretending to laugh and cry". [7]