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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