Download Eat it! - Haverford School District

6A parte II
El 11de marzo
2016
Cooking Project due date is
extended to Wednesday,
March 16th.
6A Leccíon –
PARTE II
Islas Canarias LANCEROTE
LA TUNA
de
ESPAÑA
Clavelitos es una canción compuesta por el
español Genaro Monreal , con letra de Federico Galindo en 1949.
(No debe confundirse con la del mismo título, pero compuesta por
Quinito Valverde).
Repercusiones
Incorporada al repertorio habitual de las populares tunas
universitarias de España,1 el tema se ha llegado a formar parte
del acervo cultural de los españoles del siglo XX, a lo largo de
varias generaciones.
Se ha convertido en tradición su interpretación en todo tipo de
actos y eventos sociales, sobre todo si existe presencia
institucional de la Universidad española. Así, la ceremonia de
entrega de los prestigiosos Premios Cervantes, suele clausurarse
con la interpretación de la canción.4 5
La canción ha aparecido en numerosas películas españolas y ha
sido interpretada, entre otros, por el tenor Alfredo Kraus, Joselito
o David Bustamante.
TAREA de EL LUNES con el
SUB:
Page 291 – Actividad 3
Page 294-295 – Read for
comprehension
Page 296 – 297
Read: El Partido Final
Complete Comprendiste on
page 297
Page 298 – Manos a la obra
complete actividad 4
(answers only)
Actividad 5 QUIEN LO HACE
(complete sentences)
Gramatica Part II
ESPAÑOL III
¡BIENVENIDOS!
ESPAÑA
Lesson plans for
Mr. J Capaldo-Masi
Block I and Block II
SPANISH III honors
Proyecto
Al Cocer coking
project, now date is
extended to:
16 March 2016
Wednesday
Due: Wednesday, March 16 extension
Cover Page: Must have a picture of the food,
and the name of the food in Spanish, and the
country of origin or region of Spain. Also you
must write “Hora II” on the cover page.
Page 2: The recipe (not the ingredients)
Page 3: Information about the food: when do
people eat that (Is it eaten during special
holidays, festivals, and so on)? What is its
importance? Is it an staple? What is its
history of this dish?
Page 4: Draw pictures or use Google images
of the ingredients in Spanish
Page 5: Write about the region of Spain or
Spanish speaking country that the dish is
from.
a) Have some print outs of the place
b) Maybe a festival or something famous
a. Art, Sports, or something interesting.
c) Trains, and transportation, high tech
transportation, metros, etc.
Remember: Major Actividad completed
Realidades 2
Actividad 9
Please complete these assignments for
homework
El Examenito de para la casa
TAkE HOME TEST!!!!!!!!
Para HOY !!! Pagina 138-139
EXAMEN
2016
El Primero de marzo
gracias
TAREA
TAREA
TAREA
La Carta del día
1. A la pizarra
2. La fecha y el tiempo
3. El Vocabulario de 5B
4. Los verbos en Preterito e Imperfecto
5. El repaso y las correcciones de la
TAREA
-Entregado-Correcciones a la tarea de
REPASO para los examenes de
5B
Al Escuchar Actividades
Prepare For EXAMS
Los Examenes vienen de
5B
What is the Home Journal?
1. Entreguen la tarea
2. En busca de la verdad: Actividades
Vocabulario
3. Vocabulario de 5B
4. La Leccíon
Video Episodio 5
- En busca de la verdad pàgina 260
- Después de ver el vídeo
COMPRENDISTE pàgina 261
HOME JOURNAL:
Every night -at least five (5) minutes
(0r more …..if needed) to create you own lesson using
the
Lesson of the day in class as your guide (grammar
verbs….)
Direct Object Pronouns: Part I
The object that directly receives the action of the verb is called the direct object.
Bill hit the ball.
"Ball" receives the action of the verb "hit."
Sherry reads the book.
"Book" receives the action of the verb "reads."
The direct object can also be a person.
Sherry hit Bill.
(DO=Bill)
The direct object answers the question "what?" or "whom?" with regard to what the
subject of the sentence is doing.
Bill hit the ball.
Bill hit what?
Bill hit the ball.
Sherry hit Bill.
Sherry hit whom?
Sherry hit Bill.
Often, it is desirable to replace the name of the direct object with a pronoun.
Example 1
Paul bought the flowers. He took the flowers home and gave the flowers to his wife.
Example 2
Paul bought the flowers. He took them home and gave them to his wife.
When the pronoun replaces the name of the direct object, use the following pronouns:
me (me)
te (you-familiar)
lo, la (him, her, it, you-formal)
nos (us)
os (you-all-familiar)
los, las (them, you-all-formal)
In an affirmative statement with one verb, the direct object pronoun comes immediately
before the conjugated verb.
Tengo = I have
Tengo la pluma. = I have the pen.
La tengo. = I have it.
The pronoun (la) comes immediately before the verb (tengo).
Notice that if the subject of the sentence changes, this does not affect the direct object
pronoun.
Juan la tiene.
Juan tiene = John has
Juan tiene la pluma. = John has the pen.
Juan la tiene. = John has it.
and
María la tiene.
María tiene = Mary has
María tiene la pluma. = Mary has the pen.
María la tiene. = Mary has it.
However, if the direct object of the sentence changes to a masculine noun, the
masculine pronoun must be used.
Juan lo tiene.
Juan tiene = John has
Juan tiene el libro. = John has the book.
Juan lo tiene. = John has it.
but
Juan la tiene.
Juan tiene = John has
Juan tiene la pluma. = John has the pen.
Juan la tiene. = John has it.
Likewise, if the direct object of the sentence changes from singular to plural, the plural
pronoun must be used.
Juan lo tiene.
Juan tiene = John has
Juan tiene el libro. = John has the book.
Juan lo tiene. = John has it.
but
María los tiene.
María tiene = Mary has
María tiene los libros. = Mary has the books.
María los tiene. = Mary has them.
Look at how Spanish and English are different.
"Lo tengo" and "La tengo" BOTH mean "I have it."
Differences:
1 "It" has two forms in Spanish: lo, la
2 "Tengo" one word in Spanish = two words in English (I have)
3 The word order is different. In Spanish, the pronoun (lo, la) comes before the verb; in
English, the pronoun (it) comes after the verb.
When you try to translate literally from English to Spanish, sometimes it works very well:
John eats the soup.
John = Juan
John eats = Juan come
John eats the = Juan come la
John eats the soup = Juan come la sopa.
Other times, direct translation doesn't work so well:
I eat the soup.
I = Yo
I eat = Yo como
I eat the = Yo como la
I eat the soup = Yo como la sopa.
Because "como" means "I eat," the word "yo" is redundant. A better translation might
be:
I eat the soup.
Como la sopa.
Sometimes, when you try to translate literally, you run into much bigger problems:
I eat it. (the soup - la sopa)
I = Yo
I eat = Yo como
I eat it. = Yo como la.
This is completely incorrect!
The correct translation would be:
I eat it. (the soup)
La como.
As you can see, directly translating sentences with direct object pronouns doesn't work,
so ... don't do it! There is a better, easier way.
Learn to translate groups of words, rather than individual words. The first step is to learn
to view two Spanish words as a single phrase.
Try to think of each line as a single phrase, not two separate words:
la como
lo como
la leo
lo leo
la veo
lo veo
la tengo
lo tengo
la compro
lo compro
Read each line again. Before you do, glance at the translation beneath it. Then, read
each line thinking of it as a phrase that has the same meaning as the English phrase
below it.
la como
I eat it (feminine DO - la sopa, la comida, etc.)
lo como
I eat it (masculine DO - el pollo, el arroz, etc.)
la leo
I read it
lo leo
I read it
la veo
I see it
lo veo
I see it
la tengo
I have it
lo tengo
I have it
la compro
I buy it
lo compro
I buy it
In the previous examples, it is clear that the subject of the sentence is "I" because the
verbs are all conjugated in the "yo" form. With other verb forms, it is often desirable to
add a word to clarify the subject.
Juan la come. (la comida)
Juan eats it.
María lo tiene. (el libro)
María has it.
El chico la compra. (la pluma)
The boy buys it.
La chica lo ve. (el edificio)
The girl sees it.
Ustedes lo leen. (el periódico)
You-all read it.
Now, some examples of plural direct objects.
Juan come dos sándwiches.
Los come. or Juan los come.
María tiene tres libros.
Los tiene. or María los tiene.
El chico compra dos revistas.
Las compra. or El chico las compra.
La chica ve dos coches.
Los ve. or La chica los ve.
Ella compra dos televisores.
Los compra. or Ella los compra.
Tenemos dos mesas.
Las tenemos. or Nosotros las tenemos.
Now, some examples where the direct object is a person.
I know you.
Te conozco.
She loves him.
Ella lo ama.
She loves me.
Ella me ama.
Juan sees her.
Juan la ve.
They call us.
Ellos nos llaman.
We call them.
Los llamamos.
Indirect Object Pronouns: Part I
The indirect object (IO) tells us where the direct object (DO) is going.
He gives the book to María.
DO=Book
Where is the book going?
To María.
IO=María
He gives María the book.
DO=Book
Where is the book going?
To María.
IO=María
The indirect object answers the question "To whom?" or "For whom?" the action of the
verb is performed.
He gives María the book.
To whom does he give the book?
To María.
IO=María
He buys me flowers.
For whom does he buy the flowers?
For me.
IO=me
Sentences that have an indirect object usually also have a direct object. Remember, the
IO tells us where the DO is going. Notice how the sentences below just wouldn't work
without a direct object.
He gives María . . .
the book, the pen, the diamond, etc.
He buys me . . .
flowers, candy, an ironing board, etc.
Sometimes the direct object is not stated; rather it is implied, or understood.
My mother writes me every week.
DO=letter (understood)
IO=me
(My mother writes me a letter every week.)
She told him.
DO=it (understood)
IO=him
(She told it to him.)
To identify the indirect object use our two guidelines:
4 The IO tells us where the DO is going.
5 The IO answers the question "to whom?" or "for whom" the action of the verb is
performed.
When a pronoun takes the place of the name of the indirect object, use the following
pronouns:
me (me)
te (you-familiar)
le (him, her, you-formal)
nos (us)
os (you-all-familiar)
les (them, you-all-formal)
In an affirmative statement with one verb, the indirect object pronoun comes
immediately before the conjugated verb.
Juan me compra un regalo.
John buys me a gift.
John buys a gift for me.
Juan te compra un regalo.
John buys you a gift.
John buys a gift for you.
Juan le compra un regalo.
John buys her a gift.
John buys a gift for her.
Juan nos compra un regalo.
John buys us a gift.
John buys a gift for us.
Juan os compra un regalo.
John buys you-all (familiar) a gift.
John buys a gift for you-all.
Juan les compra un regalo.
John buys them a gift.
John buys a gift for them.
Now, focus in on one part of each of the previous examples:
Juan me compra un regalo.
John buys (for) me a gift.
Juan te compra un regalo.
John buys (for) you a gift.
Juan le compra un regalo.
John buys (for) her a gift.
Juan nos compra un regalo.
John buys (for) us a gift.
Juan os compra un regalo.
John buys (for) you-all (familiar) a gift.
Juan les compra un regalo.
John buys (for) them a gift.
Let's extract the IO phrase and its English equivalent:
me compra
buys (for) me
te compra
buys (for) you
le compra
buys (for) her
nos compra
buys (for) us
os compra
buys (for) you-all
les compra
buys (for) them
Just like with the direct object, the indirect object presents a problem if one tries to
translate word-for-word:
Juan me compra un regalo.
John for me he buys a gift.
The key to learning to use the indirect object pronouns is the same as the key for direct
object pronouns. You must learn to think in phrases, not words. The phrases consist of
a pronoun and a conjugated verb. In the following examples, note that the IO remains
the same, while the subject of the phrase changes.
me compra
he buys me
me compran
they buy me
me compras
you buy me
The IO pronouns le and les present a special problem because they are ambiguous.
That is, they can stand for different things.
le
to (for) him
to (for) her
to (for) you-formal
les
to (for) them
to (for) you-all-formal
The following sentences, while grammatically correct, are ambiguous:
Ella le escribe una carta.
Ella les escribe una carta.
Out of context, there is no way we can know the meaning.
Ella le escribe una carta.
She writes him a letter.
She writes her a letter.
She writes you (formal) a letter.
Ella les escribe una carta.
She writes them a letter.
She writes you-all (formal) a letter.
Since le and les can mean more than one thing, a prepositional phrase is often added to
remove the ambiguity.
Ella le escribe a Juan una carta.
Ella le escribe a su hermana una carta.
Ella le escribe a usted una carta.
Ella les escribe a sus padres una carta.
Ella les escribe a ustedes una carta.
Sometimes a prepositional phrase is added not for clarity, but rather for emphasis.
Juan me da a mí el dinero.
John gives me the money.
(emphasizing that the money is given to me and not to someone else)
Juan te da a ti el dinero.
John gives you the money. (emphasis on you)
There is no ambiguity in the following sentence. It can only mean one thing.
Juan me da el dinero.
John gives me the money.
The addition of a prepositional phrase merely adds emphasis.
Juan me da a mí el dinero.
John gives me the money.
Let's sum up the important points of this lesson:
• The IO tells us where the DO is going.
• The IO answers the question "to whom" or "for whom."
• Sentences that have an IO usually also have a DO
• Sometimes the DO is not stated, but rather is implied, or understood.
• The IO pronouns are: me, te, le, nos, os, les.
• Place the pronoun before the conjugated verb.
• Think in phrases, do not translate word-for-word.
• Le and les are ambiguous.
• Prepositional phrases are often used for clarity and for emphasis.
Direct and Indirect Object
Pronouns Used Together
Here are the direct object pronouns and the indirect object pronouns side by side:
DO
Pronouns
me
te
lo, la
nos
os
los, las
IO
Pronouns
me
te
le
nos
os
les
English Equivalent
me
you (familiar)
him, her, it, you (formal)
us
you-all (familiar)
them, you-all (formal)
When you have both a direct object pronoun and an indirect object pronoun in the same
sentence, the indirect object pronoun comes first.
Ellos me los dan.
They give them to me.
IO pronoun: me
DO pronoun: los
Ella te la vende.
She sells it to you.
IO pronoun: te
DO pronoun: la
Whenever both pronouns begin with the letter "l" change the first pronoun to "se."
le lo = se lo
le la = se la
le los = se los
le las = se las
les lo = se lo
les la = se la
les los = se los
les las = se las
The reason for changing "le lo" to "se lo" is merely to avoid the tongue-twisting effect of
two short consecutive words that begin with the letter "l". To demonstrate this, first
quickly say "les las" and then quickly say "se las." See how much easier it is to say "se
las?"
In negative sentences, the negative word comes directly before the first pronoun.
No se lo tengo.
I don't have it for you.
Nunca se los compro.
I never buy them for her.
Because the pronoun se can have so many meanings, it is often helpful to clarify it by
using a prepositional phrase.
Él se lo dice.
Ambiguous. He tells it to (whom?).
Él se lo dice a Juan.
He tells it to him. (to Juan)
Él se lo dice a María.
He tells it to her. (to María)
Él se lo dice a ella.
He tells it to her.
In sentences with two verbs, there are two options regarding the placement of the
pronouns. Place them immediately before the conjugated verb or attach them directly to
the infinitive.
She should explain it to me.
Ella me lo debe explicar.
Ella debe explicármelo.
I want to tell it to you.
Te lo quiero decir.
Quiero decírtelo.
You need to send it to them.
Se la necesitas enviar a ellos.
Necesitas enviársela a ellos.
Note that when attaching the pronouns to the infinitive, a written accent is also added to
the final syllable of the infinitive. This preserves the sound of the infinitive.
When the pronouns are attached to the infinitive, make the sentence negative by
placing the negative word directly before the conjugated verb.
Ella debe explicármelo.
Ella no debe explicármelo.
Quiero decírtelo.
No quiero decírtelo.
Necesitas enviársela a ellos.
No necesitas enviársela a ellos.
When the pronouns come before the conjugated verb, make the sentence negative by
placing the negative word directly before the pronouns.
Ella me lo debe explicar.
Ella no me lo debe explicar.
Te lo quiero decir.
No te lo quiero decir.
Se la necesitas enviar a ellos.
No se la necesitas enviar a ellos.
More on double object pronouns
When both the direct object pronoun and the
indirect pronoun appear in the same sentence
Spanish direct & indirect
object pronouns
Now that you’ve learned about direct and indirect object
pronouns, what happens if you want to use them together?
The sentences that follow are examples of both object pronouns
being used together. The direct object is in bold, while the indirect
object is underlined.
• Does Hector give them to you? - ¿Te los da Héctor?
• They ask us for it. - Ellos nos lo piden.
• I need to give it to him tomorrow. - Necesito dárselo mañana.
To refresh your memory, the direct and indirect object pronouns
that you will use in combination are as follows:
Indirect object pronouns
Direct object pronouns
me
te
se
nos
os
(this is le normally)
se
(this is les normally)
lo, la
los, las
When you combine the direct and indirect object pronouns in a
sentence, you have two options.
• You can put the indirect object pronoun, followed by the direct
object pronoun, as two separate words before the verb.
- such as, “Te lo voy a dar.” I’m going to give it to you.
• You can attach the indirect object pronoun and the direct object
pronoun onto the end of an infinitive.
- such as, “Voy a dártelo.” I’m going to give it to you.
(Note that you must add an accent on the infinitive ending to
preserve the correct pronunciation.)
Which Object Comes First?
In English, you can switch the order of the direct and indirect
objects. For example:
• I will give it to him.
or
I will give him it.
• Hector gave them to
or
Hector gave you them.
you.
In Spanish, on the other hand, the indirect object pronoun will
ALWAYS come before the direct object pronoun.
Por ejemplo:
Mi profesor me enseña hablar español.
Why Does ‘Le’ Change to ‘Se’?
As with so many irregularities in the Spanish language, the
change of the indirect object pronoun in the third person makes
pronunciation easier.
• Try saying, “Le lo voy a dar.”
“Se lo
voy a dar.”
• Now, try saying,
I’m going to give it to him.
• Can you hear why le changes
to se?
To Whom? Clarifying “Se”
The word “se” can refer to any number of indirect
pronouns: him, her, it, them, you…. Just as it is
recommended to add a clarification after “le,” if your
audience does not know to whom you are referring, it is
also recommended to add a clarification after the use of
“se” if the indirect object is not clear.
Objects of the preposition…
To do so, use “se” as you normally would, then append one of the
following to the end of your sentence:
• a Ud.
• a él
• a ella
• a Uds.
• a ellos
• a ellas
Por ejemplo:
To whom do we serve the food?
config.limitWritingSystem} | limitTo : (phrase.strings.length-1)
To whom does he show the house?
He shows it to them.
To whom do we explain the jokes?
We explain them to you.
FIN
Ahora, Cultura
Diego Rivera
DIEGO RIVERA
nm
Rivera was born in Guanajuato, Mexico, to a well-to-do family, the son of
María del Pilar Barrientos and Diego Rivera Acosta.[2] Diego had a twin
brother named Carlos, who died two years after they were born.[3] Rivera
was said to have Converso ancestry (having ancestors who were forced to
convert from Judaism to Catholicism).[4] Speaking about himself, Rivera
wrote in 1935: "My Jewishness is the dominant element in my life."[5] Rivera
began drawing at the age of three, a year after his twin brother's death. He
had been caught drawing on the walls. His parents, rather than punishing
him, installed chalkboards and canvas on the walls. As an adult, he married
Angelina Beloff in 1911, and she gave birth to a son, Diego (1916–1918).
Maria Vorobieff-Stebelska gave birth to a daughter named Marika in 1918
or 1919 when Rivera was married to Angelina (according to House on the
Bridge: Ten Turbulent Years with Diego Rivera and Angelina's memoirs
called Memorias). He married his second wife, Guadalupe Marín, in June
1922, with whom he had two daughters: Ruth and Guadalupe. He was still
married when he met art student Frida Kahlo. They married on August 21,
1929 when he was 42 and she was 22. Their mutual infidelities and his
violent temper led to divorce in 1939, but they remarried December 8, 1940
in San Francisco. Rivera later married Emma Hurtado, his agent since
1946, on July 29, 1955, one year after Kahlo's death.
Frida Kahlo and Diego Rivera in 1932, Photo by: Carl Van Vechten.
Rivera was an atheist. His mural Dreams of a Sunday in the Alameda
depicted Ignacio Ramírez holding a sign which read, "God does not exist".
This work caused a furor, but Rivera refused to remove the inscription. The
painting was not shown for 9 years – until Rivera agreed to remove the
inscription. He stated: "To affirm 'God does not exist', I do not have to hide
behind Don Ignacio Ramírez; I am an atheist and I consider religions to be
a form of collective neurosis."[6]
From the age of ten, Rivera studied art at the Academy of San Carlos in
Mexico City. He was sponsored to continue study in Europe by Teodoro A.
Dehesa Méndez, the governor of the State of Veracruz. After arrival in
Europe in 1907, Rivera initially went to study with Eduardo Chicharro in
Madrid, Spain, and from there went to Paris, France, to live and work with
the great gathering of artists in Montparnasse, especially at La Ruche,
where his friend Amedeo Modigliani painted his portrait in 1914.[7] His circle
of close friends, which included Ilya Ehrenburg, Chaim Soutine, Amedeo
Modigliani and Modigliani's wife Jeanne Hébuterne, Max Jacob, gallery
owner Léopold Zborowski, and Moise Kisling, was captured for posterity by
Marie Vorobieff-Stebelska (Marevna) in her painting "Homage to Friends
from Montparnasse" (1962).[8]
In those years, Paris was witnessing the beginning of Cubism in paintings
by such eminent painters as Pablo Picasso, Georges Braque and Juan
Gris. From 1913 to 1917, Rivera enthusiastically embraced this new school
of art. Around 1917, inspired by Paul Cézanne's paintings, Rivera shifted
toward Post-Impressionism with simple forms and large patches of vivid
colors. His paintings began to attract attention, and he was able to display
them at several exhibitions.
Rivera died on November 24, 1957.[9]
Career in Mexico[
Diego Rivera's mural depicting Mexico's history at the National Palace in Mexico City
Amedeo Modigliani, Portrait of Diego Rivera, 1914
In 1920, urged by Alberto J. Pani, the Mexican ambassador to France,
Rivera left France and traveled through Italy studying its art, including
Renaissance frescoes. After José Vasconcelos became Minister of
Education, Rivera returned to Mexico in 1921 to become involved in the
government sponsored Mexican mural program planned by Vasconcelos.[10]
See also Mexican muralism. The program included such Mexican artists as
José Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, and
the French artist Jean Charlot. In January 1922,[11] he painted –
experimentally in encaustic – his first significant mural Creation[12] in the
Bolívar Auditorium of the National Preparatory School in Mexico City while
guarding himself with a pistol against right-wing students.
En el Arsenal detail, 1928
In the autumn of 1922, Rivera participated in the founding of the
Revolutionary Union of Technical Workers, Painters and Sculptors, and
later that year he joined the Mexican Communist Party[13] (including its
Central Committee). His murals, subsequently painted in fresco only, dealt
with Mexican society and reflected the country's 1910 Revolution. Rivera
developed his own native style based on large, simplified figures and bold
colors with an Aztec influence clearly present in murals at the Secretariat of
Public Education in Mexico City[14] begun in September 1922, intended to
consist of one hundred and twenty-four frescoes, and finished in 1928.[11]
Recreation of Man at the Crossroads (renamed Man, Controller of the Universe),
originally created in 1934 (detail)
His art, in a fashion similar to the steles of the Maya, tells stories. The
mural En el Arsenal (In the Arsenal)[15] shows on the right-hand side Tina
Modotti holding an ammunition belt and facing Julio Antonio Mella, in a light
hat, and Vittorio Vidali behind in a black hat. However, the En el Arsenal
detail shown does not include the right-hand side described nor any of the
three individuals mentioned; instead it shows the left-hand side with Frida
Kahlo handing out munitions. Leon Trotsky lived with Rivera and Kahlo for
several months while exiled in Mexico.[16] Some of Rivera's most famous
murals are featured at the National School of Agriculture at Chapingo near
Texcoco (1925–27), in the Cortés Palace in Cuernavaca (1929–30), and
the National Palace in Mexico City (1929–30, 1935).[17][18]
Later years[edit]
Portrait of Diego Rivera, 19 March 1932. Photo by Carl Van Vechten
Detroit Industry, North Wall, 1932–33. Detroit Institute of Arts
Detroit Industry, South Wall, 1932–33. Detroit Institute of Arts
The Tomb of Diego Rivera in The Rotunda of Illustrious Persons inside the Panteón de
Dolores
In the autumn of 1927, Rivera arrived in Moscow, accepting an invitation to
take part in the celebration of the 10th anniversary of the October
Revolution. The following year, while still in Russia, he met the visiting
Alfred H. Barr, Jr., who would soon become Rivera's friend and patron, as
well as the founding director of the Museum of Modern Art.[19] Rivera was
commissioned to paint a mural for the Red Army Club in Moscow, but in
1928 he was ordered out by the authorities because of involvement in antiSoviet politics, and he returned to Mexico. In 1929, Rivera was expelled
from the Mexican Communist Party. His 1928 mural In the Arsenal was
interpreted by some as evidence of Rivera's prior knowledge of the murder
of Julio Antonio Mella allegedly by Stalinist assassin Vittorio Vidali. After
divorcing Guadalupe (Lupe) Marin, Rivera married Frida Kahlo in August
1929. Also in 1929, the first English-language book on Rivera, American
journalist Ernestine Evans's The Frescoes of Diego Rivera, was published
in New York. In December, Rivera accepted a commission to paint murals
in the Palace of Cortés in Cuernavaca from the American Ambassador to
Mexico.[20]
In September 1930, Rivera accepted an invitation from architect Timothy L.
Pflueger to paint for him in San Francisco. After arriving in November
accompanied by Kahlo, Rivera painted a mural for the City Club of the San
Francisco Stock Exchange for US$2,500[21] and a fresco for the California
School of Fine Art, later relocated to what is now the Diego Rivera Gallery
at the San Francisco Art Institute.[20] Kahlo and Rivera worked and lived at
the studio of Ralph Stackpole, who had suggested Rivera to Pflueger.
Rivera met Helen Wills Moody, a famous tennis player, who modeled for
his City Club mural.[21] In November 1931, Rivera had a retrospective
exhibition at the Museum of Modern Art in New York City; Kahlo was
present.[22] Between 1932 and 1933, he completed a famous series of
twenty-seven fresco panels entitled Detroit Industry on the walls of an inner
court at the Detroit Institute of Arts. During the McCarthyism of the 1950s, a
large sign was placed in the courtyard defending the artistic merit of the
murals while attacking his politics as "detestable."[19]
His mural Man at the Crossroads, begun in 1933 for the Rockefeller Center
in New York City, was removed after a furor erupted in the press over a
portrait of Vladimir Lenin it contained. When Diego refused to remove Lenin
from the painting, Diego was ordered to leave. One of Diego's assistants
managed to take a few pictures of the work so Diego was able to later
recreate it. The American poet Archibald MacLeish wrote six "irony-laden"
poems about the mural.[23] The New Yorker magazine published E. B.
White's poem "I paint what I see: A ballad of artistic integrity".[24] As a result
of the negative publicity, a further commission was canceled to paint a
mural for an exhibition at the Chicago World's Fair. Rivera issued a
statement that with the money left over from the commission of the mural at
Rockefeller Center (he was paid in full though the mural was supposedly
destroyed. Rumors have floated that the mural was actually covered over
rather than brought down and destroyed.), he would repaint the same
mural over and over wherever he was asked until the money ran out.
In December 1933, Rivera returned to Mexico, and he repainted Man at the
Crossroads in 1934 in the Palacio de Bellas Artes in Mexico City. This
surviving version was called Man, Controller of the Universe. On June 5,
1940, invited again by Pflueger, Rivera returned for the last time to the
United States to paint a ten-panel mural for the Golden Gate International
Exposition in San Francisco. Pan American Unity was completed
November 29, 1940. As he was painting, Rivera was on display in front of
Exposition attendees. He received US$1,000 per month and US$1,000 for
travel expenses.[21]
House of Diego Rivera and Frida Kahlo (built by Juan O'Gorman in 1930)
The mural includes representations of two of Pflueger's architectural works
as well as portraits of Kahlo, woodcarver Dudley C. Carter, and actress
Paulette Goddard, who is depicted holding Rivera's hand as they plant a
white tree together.[21] Rivera's assistants on the mural included the pioneer
African-American artist, dancer, and textile designer Thelma Johnson
Streat. The mural and its archives reside at City College of San
Francisco.[25][26]
Cinematic portrayals
Diego Rivera was portrayed by Rubén Blades in 1999's Cradle Will Rock,
and by Alfred Molina in 2002's Frida.
Literary portrayals[
Diego, Frida, and Leon Trotsky are principal characters in Barbara
Kingsolver's novel, The Lacuna.
•
• Self-portrait with Broad-Brimmed Hat, 1907, 84.5 × 61.5 cm. Museo
Dolores Olmedo
• Avila Morning (The Ambles Valley), 1908, 97 × 123 cm. Museo Nacional de
Arte
• Street in Ávila (Ávila Landscape), 1908, 129 × 141 cm. Museo Nacional de
Arte
• El Picador, 1909, 177 × 113 cm. Museo Dolores Olmedo
• The House on the Bridge, 1909, 147 × 121 cm. Museo Nacional de
Arte
• After the Storm (The Grounded Ship), 1910, 120.7 × 146.7 cm. Museo
Nacional de Arte
• Landscape, 1911. Frida Kahlo Museum.
• Portrait of Adolfo Best Maugard, 1913, 227.5 × 161.5 cm. Museo Nacional
de Arte
• The Sun Breaking through the Mist, 1913, 83.5 × 59 cm. Museo Dolores
Olmedo
• The Woman at the Well, 1913, 145 × 125 cm. Museo Nacional de Arte
• The Alarm Clock, 1914, Frida Kahlo Museum
La Virgen de Guadalupe
¡El Grito de Dolores!
Símbolo de México
This event has since assumed an almost
mythic status.[6][7] Since the late 20th
century, Hidalgo's "cry of independence"
has become emblematic of Mexican
independence.
Each year on the night of September 15, at
around eleven in the evening, the President
of Mexico rings the bell of the National
Palace in Mexico City. After the ringing of
the bell, he repeats a shout of patriotism (a
Grito Mexicano) based upon the "Grito de
Dolores", with the names of the important
heroes of the Mexican War of
Independence who were there on that very
historical moment included, and ending with
the threefold shout of ¡Viva México! from
the balcony of the palace to the assembled
crowd in the Plaza de la Constitución, or
Zócalo, one of the largest public plazas in
the world. After the shouting, he rings the
bell again and waves the Flag of Mexico to
the applause of the crowd, and is followed
by the playing and mass singing of the
Himno Nacional Mexicano, the national
anthem, with a military band from the
Mexican Armed Forces playing. This event
draws up to half a million spectators from all
over Mexico and tourists worldwide. On the
morning of September 16, or Independence
Day, the national military parade (the
September 16 military parade) in honor of
the holiday starts in the Zócalo and its
outskirts, passes the Hidalgo Memorial and
ends on the Paseo de la Reforma, Mexico
City’s main boulevard, passing the El Ángel
memorial column and other places along
the way.
The Cry of Dolores (Spanish: Grito de Dolores) was uttered from the small
town of Dolores, near Guanajuato in Mexico, on September 16, 1810. It is
the event that is considered the beginning of the Mexican War of
Independence. The "grito" was the pronunciamiento of the Mexican War of
Independence by Miguel Hidalgo y Costilla, a Roman Catholic priest. Since
October 1825, the anniversary of the event is celebrated as Mexican
Independence Day.
Ambulancia azul en España
LOS NUEVOS vehículos de la Ambulancia Azul dispondrán de sistema de
localización GPS (General Position System). La dirección de la empresa
ha firmado un acuerdo con Opel España para suministrarle una flota de 20
unidades modelo Vivaro. Según fuentes de la Ambulancia Azul, los
motivos de la elección son "la calidad, fiabilidad, confort y bajos costes
operativos". E. Press
Jai Alai
nm
Jai-Alai
Jai-alai is a ball game that originated in Spain's
Basque region and is played in a three-walled court
with a hard rubber ball that is caught and thrown
with a cesta, a long, curved wicker scoop strapped
to one arm.
The game is called pelota vasca in Spain but
the Western Hemisphere name of Jai-alai, which
is Basque for "merry festival", was given when it
was introduced in Cuba.
This was due to the fact that this game was
played at festivals or fiestas in Spain's
Pyrenees Mountains for hundreds of years.
The game was then played in the open air
with the walls of churches being used to
bounce the ball on.
Jai-alai is characterized by its fast playing
pace, in which a 125g ball (or pelota) covered
with parchment skin can travel faster than
180 mph. The ball is volleyed by players
wearing a wicker basket glove approximately
63 to 70 cm long.
The glove, called cesta-punta in Spanish and
xistera in Basque, was invented by the
French Basque Gantchiqui Diturbide (also
Gantxiki Iturbide) in the 19th century.
The game of Jai-alai is popular in countries
like Spain and Mexico where, in some regions,
the game is played in almost every town and
city. Jai-alai also spread out to such countries
as mainland Brazil, the Philippines, Italy,
Indonesia, China and Egypt.
In the United States, Jai-alai is quite popular
among gamblers
in Florida
where it is used as a basis for pari-mutuel
gambling. In fact, professional Jai-alai in
America originated at the Miami Fronton.
World Jai-alai, which is based in Miami, has
promoted the most extensive amateur Jai-alai
program ever, with a number of schools in
Spain, France and one in Miami, Florida.
Realidades II
Página 274
El verbo-
Decir- To tell, to say
Present Indicative
Verb conjugated-
Digo, Dices, Dice, Decimos, Decís, Dicen
La FraseYo digo la verdad. = I tell the truth.
Decir
En el Pretérito
Remember that-Decir belongs to the
jota group
Case IV irregular -all cir verbs and the verb
belong to this group
traer
Dije, Dijiste, Dijo,
Dijimos, Dijisteis, Dijeron
Verb in use- she told me what happened yesterday.
Ella me dijo lo que pasó ayer.
Ella me dijo lo que sucedió ayer
Ella me dijo lo que occurió ayer
La Lección
YERBA MATE de ARGENTINA
CERRAR
Conjugate the verbCERRAR
Cierro
Cierras
Cierra
Cerramos
Cerráis
Cierran
The word DOOR is PUERTA
María cierra la puerta.
Cambios de Raíz
EMPEZAR
Empiezo
Empiezas
Empieza
Empezamos
Empezais
Empiezan
Despertarse
Me despierto
Te despiertas
Se despierta
Nos despertamos
Os despertais
Se despiertan
Possessive Adjectives
Mi
Tu
Su
Nuestro nuestra
Vuestro vuestra
su
Adjectives agree in gender and in number
with the nouns they describe!
Joan es alto.
Joana es alta.
María y Josep son altos.
María y Joana son altas.
El chico es gracioso.
El chico es gordo.
La chica es bonita.
La chica es baja.
Mi casa es su casa.
Exceptions to the gender agreement law
Josep es popular
María es popular.
María es inteligente.
Marco es inteligente.
TENER + QUE + INFINITIVO = to have to….
WHEN YOU HAVE A SPECIFIC HOUR GIVEN
Time: de la mañana = in the morning
de la tarde = in the afternoon
de la noche = at night/in the evening
Time: When NO hour is given- in general
Por la mañana
Por la tarde
Por la noche
El Pretérito
The Preterite tense is used to indicate a completed action in the past.
something that was completed-finished in the past
Verbos regulares
-AR
-é
-aste
-ó
-amos
-asteis
-aron
Verbos -er e -ir regulares
-í
-iste
-ió
-imos
-isteis
-ieron
______________________________________
Verbos irregulares
Case I irregular
DAR
Di
Diste
Dio
dimos
disteis
below
dieron
VER
Vi
Viste
Vio
Vimos
Visteis
Vieron
Case II irregular
Caer
Caí
Caíste
Cayó
Caímos
Caísteis
Cayeron.
OIR
Oí
Oíste
Oyó
Oímos
Oísteis
Oyeron
CREER
Creí
Creíste
Creyó
Creímos
Creísteis
Creyeron
LEER
Leí
Leíste
Leyó
Leímos
Leísteis
Leyeron
Case II also has-
All –uir verbs
Construir
Influir...
Construir
Construí
Construíste
Construyó
Construímos
Construísteis
Construyeron
Case III SER AND IR
Fui
Fuiste
Fue
Fuimos
Fuisteis
Fueron
Ser
Fuí
Fuiste
Fué
Fuimos
Fuisteis
Fueron
JOTA group
Case IV
Jota group
All –cir verbs take the “J”
Decir
Dije
Dijste
dijo
dijimos
dijisteis
dijeron
TRAER goes with the
case IV
verbs
Traje
Trajiste
Trajo
Trajimos
Trajisteis
Trajeron
Case V
“V” group
ESTAR
TENER
Estar
ESTUVE
ESTUVISTE
ESTUVO
ESTUVIMOS
ESTUVISTEIS
ESTUVIERON
ANDAR
ANDUVE
ANDUVISTE
ANDUVO
ANDAR
ANDUVIMOS
ANDUVISTEIS
ANDUVIERON
TENER
TUVE
TUVISTE
TUVO
TUVIMOS
TUVISTEIS
TUVIERON
Case VI Los
independientes
Poner
Puse
Pusiste
Puso
Pusimos
Pusisteis
Pusieron
Poder
Pude
Pudiste
Pudo
Pudimos
Pudisteis
Pudieron
Venir
Vine
Viniste
Vino
Vinimos
Vinisteis
Vinieron
Hacer
Hice
Hiciste
Hizo z
Hicimos
Hicisteis
Hicieron
Saber:
to know a fact
Not used in conversation
In spoken Spanish it is used to mean
“to have found out....!”
Supe
Supiste
Supo
Supimos
Supisteis
supieron
knowing is a process
Saber- In order to say that you “knew....something” you must use the
imperfect tense form of the verb
Sabía
Sabías
Sabía
Sabíamos
Sabíais
sabían
Yo no sabía la respuesta.
Querer = to want
You can not use the preperite form of the verb QUERER since
¨wanting¨ implies an on going sense of desire......
In conversational Spanish you must use the Imperfect form of the
conjugation to indicate “wanting...or wanted”
Preterite form of the verb
QUERER
Quise
Quisiste
Quiso
Quisimos
Quisisteis
Qusieron
In spoken Spanish this means to have refused when the word NO
comes before each conjugate.
Yo no quise ir. I refused to go.
No qusimos ir de compras.We refused to go shopping.
No quise
No quisiste
No quiso
Ni quisimos
No quisisteis
No quisieron
To expres “I wanted, you wanted, he/she wanted....” you must use
the imperfect form of the verb querer
Quería
Querías
Quería
Queríamos
Queríais
Querían
Yo quería estudiar en la biblioteca.
I wanted to study in the library.
____________________
Case VII
Stem changing verbs case VII en pretérito
Dormir
Dormí
Dormiste
Durmió
Dormimos
Dormisteis
Durmieron
PEDIR
Pedí
Pediste
Pidió
Pedimos
Pedisteis
Pidieron
Servir
reir
pedir dormir
sonreir.........
________________________________________
Case VIII
-Car
qué
-Gar
GUÉ
-Zar
CÉ
in the yo form
Tocar
Toqué
Tocaste
Tocó
Tocamos
Tocasteis
Tocaron
-GAR verbs
LLEGAR
Llegué
Llegaste
Llegó
Llegamos
Llegasteis
llegaron
-ZAR verbs
Empezar
Empecé
Empezaste
empezó
Empezamos
Empezasteis
Empezaron
The Imperfect Tense
The imperfect tense is used to describe
actions
that happened repeatedly in the past.
The imperfect tense is used to describe
repeated/habitual actions in the past.
-Something that was happening,
something that used to happend or
something that happend a lot (more
than once).
Jugar
Jugaba
Jugabas
Jugaba
Jugábamos
Jugabais
Jugaban
Hacer
Vivir
Hacía
Vivía
Hacías
Hacía
Vivías
Vivía
Hacíamos
Hacíais
Hacían
Vivíamos
Vivíais
Vivían
Imperfect Tense Irregular verbs
Ir
Ser
Iba
Ibas
Iba
Íbamos
Era
Eras
Era
Éramos
Ibais
Erais
Iban
Eran
Ver
Veía
Veías
Veía
Veíamos
Veíais
Veían
Reflexive verbs are verbs in which the subject is the direct recipient of the
action of the verb.
There is no object
The action of the verb reflects back on the subject....
The key word in English is -self.
The reflexive verbs are recognized by the use of –SE
attached to the infinitiveLavarse, Bañarse, afeitarse, cepillarse.....
Lavar
Lavo
Lavas
Lava
Lavamos
Laváis
lavan
yo lavo el coche.
Yo lavo el patio.
Yo lavo la bicicleta.
Lavarse
Me lavo
Te lavas
Se lava
Nos lavamos
Os laváis
Se lavan
Yo me lavo despúes de lavar el coche.
Despúes de lavarme, voy a la fiesta.
Yo lavo el coche y despúes, yo me lavo.
REFLEXIVE PRONOUNS
Me
Te
Se
Nos
Os
Se
Yo me despierto y despúes me levanto.
Some reflexive verbs are
AFEITARSE
CEPILLARSE los dientes
Cortarse el pelo
Secarse
Lavarse la cara
Pintarse la uñ
LAW OF POSITION OF OBJECT PRONOUNS AND REFLEXIVE
PRONOUNS
Object pronouns and reflexive pronouns
are placed before (come before) the conjugated verbs
OR
They follow the infinitives and are attached.
And they follow present participles and are attached
And they follow affirmative commands and are attached!
And they follow affirmative commands and are attached!
Ejemplos- yo lo comí.
I sold the car. Yo vendí el coche.
I sold it. Yo lo vendí.
¡Cómela!
Direct object pronouns
Me
Te
Lo
La
Le
Nos
Os
Los
Las
direct obects answer the question
Who? - Whom? or what?
Indirect object pronouns
Answer the questionTo whom? To what? For whom? For what?
Ella compró el regalo para mi.
Ella compró el regalo por mi.
Ella le envió la carta a él.
She sent it to him.
Ella le la envió. Wrong!
When le or les come before LO LA LOS LAS, Le and LES become
Ella se la envió.
Do you want this table or the other one?
Do you want this or the other?
Quieres éste o el otro?
One or the other
Uno o otro....Wrong
SE
Uno u otro.
I study Spanish and Italian.
Estudio español e Italiano.
Yo quiero verte.
Yo te quiero ver.
Estoy leyendo el libro.
Estoy leyéndolo.
Yo lo estoy leyendo.
¡Come el bocadillo! El bocadillo.
¡Cómelo! Eat it!
To go to do something…..
Using TENER
IR + A + the infinitive
To have to do something…..
TENER + QUE + the infinitive
To have to do something
TENER+ GANAS +DE + the infinitive
To feel like doing something
ACOSTARSE the example
Voy a acostarme ahora.
Me voy a acostar ahora.
Tengo que acostarme ahora.
Me tengo que acostar ahora.
Yo quiero acostarme.
Me quiero acostar.
Yo estoy bañándome ahora.
Me estoy bañando ahora.
Tengo que bañarme ahora.
Quiero bañarme ahora.
¡Báñate ahora!
¡Pónte los zapatos!
Me pongo los zapatos.
Me voy a poner los zapatos.
Ir + A + infinitive
Voy a ponerme los zapatos.
Tengo que ponerme los zapatos.
Me tengo que poner los zapatos.
Me gusta reunirme con mis amigos.
POSSESSIVE ADJECTIVES
My your his her
Our your their
Mi
Tu
Su
Nuestro nuestra
Vuestro vuestra
Su.
Mi casa es su casa.
Estas casas son mis casas.
Esas casas son sus casas. Las casas de el.
Possessive Pronouns
mío
tuyo
suyo
nuestro
Las casas de mi.
vuestro
suyo.
Mía
Tuya
Suya
nuestra
vuestra
suya
Míos
Tuyos
Suyos
Nuestros
vuestros
suyos
Mías
Tuyas
Suyas
Nuestras
Vuestras
suyas
Antes
+ de +
infinitive=before doing something ing
Despues + de + infinitive=after doing something
Antes de hablar -before speaking
ing
Despúes de llamar- after calling
Mine your his her’s it’s ours….
It is not his car, it is ours.
No es su coche, es nuestro.
Possessive Adjectives
Mi tu su
nuestro vuestro su.
estudien Uds. Los verbos!!!
E