Direct Commands in Spanish The Imperative Mood

The imperative form of verbs, used for giving commands, is one of the more unusual in Spanish. As a distinctive conjugation, it exists only with tà º and vosotros, in the familiar second person. Different conjugations are sometimes used in the affirmative (do something) and negative (dont). Because direct commands sometimes can sound rude or impolite, native speakers often avoid the imperative in favor of other verb constructions. Easy to Learn The imperative form of verbs is fairly easy to learn. For regular verbs, the familiar affirmative imperative (the one that goes with tà º and vosotros) is formed by dropping the final letter (the r) of the infinitive, except for verbs ending in -ir, in which case, the ending is changed to -e. In the plural, the final letter of the infinitive is changed to a d. For formal and negative commands, the subjunctive conjugation is used. The imperative form is equivalent to the use of the unconjugated verb in English without a subject. For example, if youre telling someone in English to look, the command is look. The Spanish equivalent can be mira, mire, mirad or miren, depending on whom you are speaking to. Direct Commands for -ar  Verbs Using hablar (to speak) as an example, the conjugations include: Singular familiar: habla tà º, no hables tà º speak, dont speakSingular formal: hable Ud., no hable Ud. speak, dont speakPlural familiar: hablad vosotros, no hablà ©is vosotros speak, dont speakPlural formal: hablen Uds., no hablen Uds. speak, dont speak Use the imperative form only for the familiar affirmative commands. In other cases, use the present subjunctive conjugation. The same is true for -er and -ir verbs. Direct Commands for -er Verbs Using comer (to eat) as an example, the conjugations include: Singular familiar: come tà º, no comas tà º eat, dont eatSingular formal: coma Ud., no coma Ud. eat, dont eatPlural familiar: comed vosotros, no comà ¡is vosotros eat, dont eatPlural formal: coman Uds., no coman Uds. eat, dont eat Direct Commands for -ir Verbs Using escribir (to write) as an example, the conjugations include: Singular familiar: escribe  tà º, no escribas tà º write, dont writeSingular formal: escriba Ud., no escriba Ud. write, dont writePlural familiar: escribid vosotros, no escribà ¡is vosotros write, dont writePlural formal: escriban Uds., no escriban Uds. write, dont write The pronouns are included in the above charts for clarity. The familiar pronouns (tà º and vosotros) are usually omitted in actual use unless needed for clarity or emphasis, while the formal pronouns (usted and ustedes) are more often used. Tips for Using the Imperative Mood Use of the imperative is fairly straightforward, but learning a few guidelines will help you to use it correctly. The singular affirmative familiar imperative (used with tà º) is usually regular. The irregular verbs are these eight, along with verbs derived from them: Decir, di to sayHacer, haz to make or doIr, ve to goPoner, pon to putSalir, sal to leaveSer, sà © to beTener, ten to haveVenir, ven to come All verbs are regular in the plural affirmative familiar imperative. The vosotros commands are rarely used in Latin America. Normally, the ustedes form is used when speaking even with children or relatives. Object pronouns and reflexive pronouns are attached to the affirmative commands and precede negative commands, for example: Dime. Tell me.No me digas. Dont tell me.Escrà ­beme. Write to me.No me escribas. Dont write to me. When a pronoun is attached, add an accent to the verb to maintain the correct pronunciation. If there is a direct and indirect object, the indirect object comes first, as in: Dà ©melo. Give it to me.No me lo dà ©. Dont give it to me. In written instructions, use either the familiar or formal forms, depending on the tone you want to convey as well as your audience. The familiar form generally comes across as friendlier, as in: Haz clic aquà ­. Click here.Haga clic aquà ­. Click here. You can also use the impersonal command. Some writers put commands between exclamation points to help indicate that they are commands. When you use it this way, the exclamation marks dont necessarily translate to written English, as in,  ¡Escucha! (Listen.)

The of Leadership in shaping organizational culture Essay

The Role of Leadership in Shaping Organizational Culture Armen Avetisyan Walden University Abstract In this paper I have tried to analyze the role of leadership in shaping of organizational culture. Also I have briefly touched the definition of culture, historical overview of leadership theory development’s issue and what impact have traits approaches, skills approach, style approach and also ethical approach on creating of organizational culture for healthy organization. The Role of Leadership in Shaping Organizational Culture The Importance of Organizational Culture Creating of organizational culture is crucial for organizations and leaders. The success of organization depends on an appropriate†¦show more content†¦Ã¢â‚¬ ¢ The ideal world is one of elegant machines and processes working in perfect precision and harmony without human intervention. †¢ Engineers are safety oriented and overdesign for safety. †¢ Engineers prefer linear, simple cause-and-effect, quantitative thinking. 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Traditional Art vs Digital Art free essay sample

Traditional art VS Digital art Fri, May 15, 2009 News Because we live in a century dominated by technology innovation, art itself has been offered new creative horizons. But these new advantages have not been considered so beneficial for the art by some conservative art lovers, who believe that if the art is not created using traditional tools (pen, oils, watercolor, etc. ) that art cannot be considered true art (true in the meaning of recognizing it’s real values). Even if the painting, the design or the sketch is created using   traditional tools, just a pencil and paper, or a drawing tablet, both reflect in the same way the artist’s creative effort and talent.? What is really offending nowadays, due to this technology, is that many people pretend to have â€Å"become artists† just because he/she can easily combine some Photoshop brushes. The main question that stands is: how much of that person’s talent is reflected in that resulting piece of art? That depends very much on the person behind the technology. We will write a custom essay sample on Traditional Art vs Digital Art or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page If the person who wants to create ART using the computer is an ARTIST, the resulting piece of digital stuff is ART, without the artist, drawing and manipulating programs can’t do a thing.? Sometimes it’ very hard to discern between the real artists and the ones who are just playing with the tools provided by digital programs. There are also some artists, who pretend their art is totally innovative, abstract or exceeds the limits of imagination by disposing mixtures of abstract elements and finally call it ART. The limits of deciding are actually fragile, because everything that is considered to be ART is decided to be valuable, innovative or absolutely worthless, by   subjective points of view, and a design that is considered to be total crap for one might look absolutely amazing in some others’ opinion. That’s true concerning all kinds of tastes. ?To that, many artists are still attached to those sensitive feelings that traditional art gives, that intimacy between yourself and the blank paper, that process of transforming the paper in front of your eyes, touching it, etting dirty or wrapping it when everything goes wrong. These are feelings that cannot be experienced in front of a monitor.? But although modern art is made of true and false artists, talented and crooks, innovative or copy cats, we cannot ignore the BENEFITS that digital technology has brought.? Digital art is also considered the art of the future, because it provides infinite opportunities for the artist to expand his imagination and show us the   crazy and amazing things he can do just by using a mouse, a drawing tablet and his skills. These things can be considered wrong and â€Å"evil† only by those artists who have been painting all their life in the traditional old style and cannot accept or cannot adapt to new techniques.? Digital art can be considered innovating also for the classical process approach:   programs like Adobe Photoshop, Illustrator, After Effect, not to speak about the 3d ones, 3D Studio Max and Maya offers the artist many electronic brushes, pen tools, endless colors and combination, which make their life and the process of creation much easier and pleasant. Amazing   illustrations   and images that seemed impossible to create in the past, are possible with the help of new technologies. The progress that digital artist are achieving nowadays   in the fantasy/sci-fi field is mind blowing. Even though, there are also charcoal nudes or portraits who carry along profound aesthetic emotions for the viewer.? People may say that when an artist creates a   digital piece of art, that piece of art can be printed or sold in various forms in an infinite number of identical copies, and in the same time, that element which is so important for visual art lovers is lost: the uniqueness. But let’s keep in mind that copies of many famous traditional paintings have been manually created by the painters themselves, in order to satisfy as many collectors as possible.? Probably in the future, digital art will be considered traditional as well. But today, it’s the artists’ decision to choose the ways of expression f or their talent. http://blog. tshirt-factory. com/? p=678

Paradise Lost By Milton Essays - Christian Poetry, Epic Poets

Paradise Lost By Milton Paradise Lost Milton writes Paradise Lost in the tradition of a classic epic poem. All epic poems contain some common features. Milton follows this outline with great precision and style. His poem uses the guidelines of an epic poem and elaborates upon them to make his poem one of the most popular epics written. In his poem, Milton uses the key points of an epic poem when he traditionally invokes a muse to speak through him, includes great deeds of valor, long speeches, and a list of the protagonists Milton follows the tradition of epic poetry when he asks a muse to speak through him. It is clear that for Milton it is the poet's submission to the voice of his muse, to divine inspiration, which ultimately distinguishes the soaring creation of Paradise Lost from an insulting speculation of what happens in the Garden of Eden. Milton does not, however, present the hymn of a heavenly muse as his only defense against presuming too much. Through the book, he remains sensitive to the relationship between himself as poet and his center of attention. While he insists on the honest intentions of what he undertakes, he never neglects to expose the satanic aspect of his poetic posture. In this way Milton differs a slightly from a traditional epic. Instead of speaking through Milton, the muse is more of a second person that inspires Milton. Never the less, Paradise Lost still follows the outline of a customary epic poem. Another part of a traditional epic poem is that the hero must perform great deeds of valor to defeat the villain. Milton wants his readers to be forced to face the problem of Satan seeming invincible. Satan is, after all, an angel. He is a mighty angel that is removed from Heaven. In order for us to see the power of God, it is necessary that Satan also be powerful. It is important that Satan, a parody of God, is viewed as an eloquent, bold being; one that possesses superhuman strength, extraordinary martial prowess, and fortitude so that he can be a foil to show how great God is. In order for God to vanquish and control this awesome being, his characteristics must exceed the characteristics of Satan. Therefore, it emphasizes the great valor God possesses to successfully defeat Satan in their battle. One of the last characteristics that this poem demonstrates that are typical of an epic poem is the long list of the protagonists that the plot involves accompanied by long speeches by the main characters. Milton dedicates a large portion of the first book of the series to a catalogue of the fallen angels. The numbers of angels that are listed are used to give the reader the notion of being overwhelmed by the mass number of villains. He also provides extended formal speeches by the main characters. It is on the basis of the eloquence and power of those speeches that much of the personality of the characters is shown. This listing of villains and long, profound speeches verifies that this poem fits every description of an epic poem. When Milton writes Paradise Lost he uses a general outline that will categorize his poem as an epic poem. He elaborates on the general characteristics of an epic poem including the relationship between the muse and him. They are shown as two separate people with the muse as the higher being. Obviously, in spite of some adjustments and alterations, Milton undeniably uses classical epic traits. Milton builds his epic out of views of the past and uses every feature of epic poetry that can possibly be used.