Capitulo 4 Vocabulario

Primer Parte
Acostumbrarse (a) Adivinar Afligido/a Al contrario Analizar Ansioso/a Aportar Apoyar La autoestima Avergonzar (e) Bondadoso/a El carcter Celoso/a La confianza Confiar (en) Desenvuelto/a Despreocupado/a Elegir (i, i) Equivocarse Evaluar Exitoso/a Gracioso/a Grosero/a Honrado/a Inseguro/a El instinto Maduro/a Malhablado/a Malvado/a Manitico/a La memoria Mentir (ie, i) Mentiroso/a Orgulloso/a Para concluir Por una (otra) parte Portarse bien/mal El recuerdo Relajarse Rudo/a Soportar Vencer La vergenza To get used to To guess Distresses On the contrary To analyze Anxious To contribute To support Self esteem To shame, to embarrass Good natured, kind personality Jealous Confidence To trust Outgoing Carefree To choose To make a mistake To evaluate Successful Funny Nasty, vulgar Honest Insecure Instinct Mature Foul-mouthed Evil Compulsive Memory (capacity) To lie Lying, false Proud To conclude On the one (other) hand To behave/misbehave Memory, as in remembrance To relax Rough To put up with, to tolerate To defeat, to overcome Embarrassment

Segunda Parte
El amor propio Apasionado/a Apasionarse (por) Beneficiar Bloquear Capaz Comprobar La conducta Dichoso/a Egosta Ejercitar Emocionarse Enajenado/a Engaar El estado de animo Evitar Experimentar Humilde Ingrato/a Inquieto/a Obsesionarse Pero El placer Presumido/a El rasgo Retroceder Sensible Sino Sino que Suceder El suceso Superar Tenaz Terco/a El truco Valiente Vanidoso/a El vicio

Pride, self respect Passionate To be passionate (about) To benefit To block Capable To prove, to verify Behavior Happy, fortunate Selfish To exercise To get excited, to be moved Alienated, absent To deceive Mood To avoid To experience Poor, humble Ungrateful Restless To become obsessed But pleasure Conceited Characteristic To go backwards Sensitive But (rather) But (rather instead) To happen, to occur Event To overcome Tenacious Stubborn Trick Courageous Vain Vice, bad habit

Reflexive Constructions
Reflexive Pronouns:
A reflexive construction is one in which the subject both performs and receives the action expressed by the verb. The verb in the reflexive construction is always accompanied by a reflexive pronoun. Reflexive Pronouns Subject Pronouns Yo T Usted, el, ella Nosotros/as Vosotros/as Ustedes, ellos, ellas y Reflexive Pronoun Me (myself) Te (yourself) Se (yourself/himself/herself) Nos (ourselves) Os (yourselves) Se (yourselves/themselves)

As with the object pronouns, reflexive pronouns are placed immediately before the conjugated verb, or attached to the present participle (-ndo) or the infinitive. Ex. El joven est peinndose Ex. El joven se est peinando. The young man is combing his hair

Reflexive Verbs:

Verbs that describe personal care and daily habits or routines are often reflexive

Ex. Me voy a acostar tarde. I m going to bed late Ex. Ana se maquilla antes de salir. Ana puts makeup on before leaving. Ex. Lvate los dientes despues de comer. Brush your teeth after you eat. Common Verbs of daily routines and hygiene: y Baarse y y Cepillarse y y Despertarse (ie) y y Ducharse Lavarse Maquillarse Peinarse Secarse

y y

Verbs that express feelings, moods, and changes in conditions or emotional states are often reflexive. In English these ideas are expressed with verbs like to get or to become, or non-reflexive verbs.

Changed Meanings
Acostar Dormir Enfermar Ir Levantar Llamar Llevar Poner Quitar Vestir Non-Reflexive To put to bed To sleep To make sick To go To lift To call To wear, to carry To put, to place To remove To dress Acostarse Dormirse Enfermarse Irse Levantarse Llamarse llevarse Ponerse Quitarse Vestirse Reflexive To go to bed To fall asleep To become sick To go away, to leave To get up To be called (name) To take with oneself To put on, to become To take off (clothing/shoes) To get dressed

Ex. Me allegro de verte. I am happy to see you Ex. Mis amigos se enojan si pierden. My friends get (become) angry if they lose. y The reflexive structure can be used with almost any transitive verb (a verb that takes a direct object) to indicate or emphasize something one does to or for him/herself. Original: Compro un libro. I buy a book. Reflexive: Me compro un libro. I buy myself a book.

The plural forms of reflexive verbs can express reciprocal actions, things done to each other or to one another. To distinguish a reciprocal from a reflexive action, the phrases el uno al ortro (reciprocal) and a nosotros/vosotros/ si mismos (reflexive) may be used. Ex. Antonio y Cleopatra se querian muchisimo (el uno al otro) Antony and Cleopatra loved each other very much. Ex. Ellos se vean (el uno al otro) todos los das. They saw each other every day. Ex. Los nios se vistieron (a s mismos). The children dressed themselves.

Reciprocal Actions:

Agreement, Form, and Position of Adjectives

y Adjectives agree in gender and number with the noun or pronoun they modify Ex. Julio es un hombre desenvuelto. Julio is an outgoing man. Ex. Mis amigos son dichosos. My friends are happy. Ending in o: Adjectives whose masculine form ends in o, have feminine form ending in a. Ex. El profesor esta afligido. The profesor is distressed. Ex. La estudiante tambin esta aflgida. The student is also distressed. Ending in e or a consonant: Adjectives that end in e and most adjectives that end in a consonant have the same masculine and feminine forms. Ex. Alejandro Sanz es un hombre sensible Alejandro Sanz is a sensitive man. Plurals: Generally, adjectives follow the same rules as nouns to form the plural. Mexicano Mexicanos Inteligente Inteligentes Tenaz Tenaces Popular Populares Nationality: Adjectives of nationality that end in a consonant add a to form the feminine. If the adjective ends in e or a, the singular has only one form. Adjectives of nationality are not capitalized in Spanish. Ex. El comediante espaol era muy bueno. The Spanish comedian was very good. Ex. La actriz espaola es maravillosa. The Spanish actress is marvelous. Ex. Oscar Arias es costarricense. Oscar Arias is Costa Rican. Ex. Tengo un amigo vietnamita. I have a Vietnamese friend. Position, general: Limiting adjectives (numerals, unstressed possessives, indefinites, demonstratives, interrogatives) usually precede the noun they modify, and descriptive or differentiating adjectives (size, color, shape, nationality, etc.) are generally placed after the noun. Ex. Mi novio es carioso. My boyfriend is caring. Ex. Tenemos muchos recuerdos agradables de Pablo. We have many pleasant memories of Pablo.

Position, two or more adjectives: When two adjectives modify a noun, they are placed according to the aforementioned rules; when descriptive adjectives follow the noun, they are connected by y. Ex. Nuestros amigos, optimistas y apasionados creen que es hora de rebelarse. Our optimistic and passionate friends think it is time to rebel. Ex. Son tus cuatro amigos rebeldes. They are four rebellious friends. Position, known quality: When descriptive adjectives precede the noun they modify, they usually describe a known or established quality. Ex. El ancho rio Amazonas es impresionante. The wide Amazon Rivere is impressive. Ex. Rafael es mi peor enemigo. Rafael is my worst enemy. Spelling Changes: Some adjectives change spelling before the noun. - Bueno, malo, primero, tercero, uno, alguno, and ninguno drop the final o before a masculine singular noun. - Cualquiera shortens to cualquier before any singular noun. - Algn and ningn require a written accent. The adjectives grande, ciento, and santo drop the final syllable in the following cases: - Grande gran before a singular masculine or feminine noun. The meaning changes to great. Ex. Tiene una oficina grande. He has a big office. Ex. Eduardo es un gran hipnotizador. Eduardo is a great hypnotist. Ciento becomes cien before a noun in counting and before the adjective mil. However, it remains ciento when it precedes numerals smaller than 100. Ex. Cien personas deprimidas. One hundred depressed people Ex. Este ano he tenido ciento diez das estresantes. This year I have had 110 stressful days. Santo becomes San before the name of all masculine saints except those beginning with Do- or ToEx. San Juan Saint John Ex. Santo Tomas Saint Thomas Some adjectives change meaning depending on whether they precede or follow the noun they modify: Certain (particular) Darn Great, impressive HalfSame Another, different Unfortunate Own Sheer Former, long standing

Before Noun

Adjectives
Cierto/a Dichoso/a Grande (gran) Medio/a Mismo/a Nuevo/a Pobre Propio/a Puro/a Viejo/a

Certain (sure) Happy, fortunate Large Middle, average (the thing) itself Brand new Poor Proper Pure Old, aged

After Noun

Comparaciones Yo Puedo: un programa para elevar el estatus de la mujer en Honduras (Page 119)

Yo Puedo: un programa para elevar el estatus de la mujer en Honduras El machismo es un termino que comnmente se asocia con la cultura hispana. Este machismo es un conjunto de actitudes, conductas, prcticas sociales y creencias que cuando se tienen resultan en un trato inferior hacia las mujeres. Aunque las actitudes han cambiado mucho en los ltimos aos, el machismo contina arraigado (entrenched) en regiones aisladas del mundo hispano. Hombro a Hombro es una organizacin sin fines de lucro de Honduras que establece clnicas para llevar servicios bsicos de salud a localidades apartadas. Su programa, Yo Puedo, han sido establecidos en unas localidades tan aisladas que muchas veces la nica forma de llegar a ellas es a pie. El personal de Hombro a Hombro trabaja con las maestras de las pequeas escuelas rurales para elevarles la autoestima a las nias entre las edades de 10 a 14 aos. Las maestras trabajan con las jovencitas para ayudarlas a poner en prctica lo que aprenden en la escuela. La idea es que luego ellas puedan formar pequeas empresas (companies) que sirvan a la comunidad. Las chicas aprenden a hacer un presupuesto (budget), a comprar materiales, a vender sus productos, a mantener las cuentas y a calcular sus ganancias (earnings). Las maestras del programa observan que las jovencitas se han vuelto menos tmidas y ahora se ven mas desenvueltas. Sin duda, Yo Puedo es un excelente programa para combatir el machismo y servir de modelo para muchos pases en vas de desarrollo (developing). Ideas / Temas Principales - En el mundo de hispana, el machismo actitud existe entre mujeres y hombres. -Hombro a Hombro es un sin fines de lucro que establece clnicas ayudar personas en localidades apartadas. -Las maestras de la programa trabajan con las jovencitas para elevarles la autoestima. -Tambien, las maestras ayudan las jovencitas pueden formar empresas y sirvan la comunidad.

I can: a program to elevate the status of women in Honduras "Machismo" is a term commonly associated with Hispanic culture. This machismo is a set of attitudes, behaviors, social practices and beliefs when they are in an inferior treatment towards women. Although attitudes have changed greatly in recent years, remains ingrained machismo (entrenched) in isolated regions of the Hispanic world. Shoulder to Shoulder is a nonprofit organization of Honduras established clinics to bring basic health services to remote locations. His program, I can, has been established in some locations so isolated that many times the only way to reach them on foot. The Shoulder to Shoulder staff works with teachers in small rural schools to raise them self-esteem of girls between the ages of 10 and 14. Teachers work with girls to help them implement what they learn in school. The idea is that then they can form small enterprises (companies) that serve the community. Girls learn to budget (budget) to buy materials, sell their products, to maintain accounts and calculate your earnings (earnings). The teachers of the program observed that girls have become less timid and are now more brazen. No doubt, I can I is an excellent program to combat sexism and serve as a model for many developing countries (Developing).

Vocabulario Pertinente aportar: to contribute elegir: to choose evaluar: to evaluate vencer: to defeat/to overcome la autoestima: self esteem la confianze: confidence el carcter: personality bondadoso/a: good natured

Conexin Personal Hoy, hay muchos pases donde las mujeres no tienen igualdad. Los hombres son mejor que las mujeres, en la Middle East. A veces, las mujeres tienen bajo autoestima. Pero, en sociedad hay muchas organizaciones que ayudan personas con bajo autoestima que Affirmative Action.

Imgenes Los Dos Fridas (Page 133)

El corazn daado. Esta roto sin un hombre en su vida. La tijera representa Frida deseo terminar la relacin con su esposo. El sangre representa las muertes de su hijos. La lnea representa polio cuando Kahlo era una nia. Tambien, simboliza amistad.

El retrato simboliza que Frida le encanta su hijo y su esposo.

Cmo explicas el titulo de la pintura? El titulo de la pintura es importante porque representa los dos partes de Frida. Representa Frida cuando triste y alegre. How do you explain the title of the painting? The title is important because it represents both parts of Frida. It represents Frida when she is sad and happy. En que se diferencian las dos Fridas? Frida de la derecha es completo y verdad. Su corazn est sano y lleno de amor por el amor de su esposo Diego. Adems, est limpia porque ella quiere ser bien para su esposo. La ropa representa que Frida es mexicana. Ella est feliz y contenta con su vida. Frida de la izquierda es no completo. Su corazn est roto porque Diego se divorci de ella. La sangre representa su triste y el dolor que sufri durante su vida. Tena muchos abortos involuntarios y las cirugas porque ella tiene Polio. La ropa que lleva puesta es europeo, porque ella no quiere que su ropa mexicana despus de que Diego. Frida est triste y tiene una vida rota. What differentiated the two Fridas? Frida on the right is complete. Her heart is healthy and full of love because of the love from her husband Diego. Also, she is clean because she wants to look good for her husband. The clothes represents that Frida is Mexican. She is happy and content with her life. Frida on the left is not complete. Her heart is broken because Diego divorced her. The blood represents her sadness and the pain she suffered during her life. She had many miscarriages and surgeries because she got Polio. The clothes she is wearing is European because she does not want her Mexican clothing after Diego. Frida is sad and has a broken life. Explica los elementos o colores de la pintura que son simblicos. Qu simbolizan? Azul representa la vida de Frida. Frida es alegre cuando ella esta casada a Diego. Blanco simboliza la inocencia de Frida, pero el rojo encima de blanco es el dolor que daa su inocencia. Explain the elements or paint colors that are symbolic. What do they symbolize? Blue represents the life of Frida. Frida is happy when she is married to Diego. White symbolizes the innocence of Frida, but the red above the white is the pain that ruined her innocence. Crees que hay una cierta dualidad en todas las personas? Por qu? S, creo que cada persona tiene dos personalidades que dependen en dnde o con quin estn. Cuando una persona est en el trabajo, que son profesionales, pero cuando estn con amigos que pueden ser ms divertidos.

Do you think there is duality in all people? Why? Yes, I believe that every person has two personalities that depends on where they are or who they are with. When a person is at work, they are professional but when they are with friends they can be more fun. La Frida de la derecha tiene un retrato en miniatura de su esposo, Diego Rivera. Qu crees que simboliza? El retrato representa el amor de Frida tiene para su esposo. Ella quera mantener su amor por l. Porque el retrato es al lado de su estmago, tambin representa su amor a su nio. The Frida on the right is a miniature portrait of her husband, Diego Rivera. What do you think it symbolizes? The small picture represents the love Frida has for her husband. She wanted to keep her love for him. Because the picture is by her stomach, it also represents her love their baby.

Ideas / Temas Principales

-Frida Kahlo fue una pintora mexicana. -Los dos Fridas representa las sentimientos de Frida

Vocabulario Pertinente Analizar: to analyze Ansioso: anxious La autoestima: self esteem El carcter: personality Despreocupado: carefree Evaluar: to evaluate Inseguro: insecure Rudo/a: rough El rasgo: characteristic La confianza: confidence

Conexin Personal

Creo que personas tienen muchas personalidades depende en su sentimientos. Cuando una persona es alegre, se sienten que su vida es completa.

Ritmos Soy - Willy Chirino (Page 134)

Coro: Soy como la brisa que Siempre de prisa No, no anuncia su partida Y como el dinero soy Donde yo quiero voy Sin una despedida Soy la ms pequea aldea En un distante lugar Soy el ruido y la marea Del inmenso mar. No soy cadenas ni rejas Soy azcar y sol sal Si me quieren o me dejan Me da igual Coro Amo el sol que se levanta La fragancia de una flor, Y me gusta como canta el ruiseor Coro Soy el agua de los ros, Que corriendo siempre est Todo lo que tengo es mo Y de los dems Soy el sol en la maana La luna al anochecer Y he comido la manzana del placer. Coro Soy un mendigo ante el diablo Y millonario ante Dios Hablo poco cuando hablo Sin alzar la voz Soy adems mentiroso Vanidoso y buen actor Y quisiera ser dichoso en el amor. Ideas / Temas Principales Chorus: I like the breeze Always in a hurry No, does not announce his departure And I like money Where I want to go Without a farewell I'm the smallest village A distant place I am the noise and the tide The immense sea. I'm no chains or bars I'm sugar and salt sun If you love me or leave me I do not care Chorus I love the sun rising The fragrance of a flower, And I like the nightingale sings Chorus I am the river water, That is always running All I have is mine And the other I am the sun in the morning The moon at dusk And I have eaten the apple of pleasure. Chorus I am a beggar before the devil And millionaire before God I speak little when I Without raising his voice I am also a liar Vain and good actor And I would be happy in love. Conexin Personal

Esta cancin es sobre un hombre y su amor por una mujer. El hombre no es perfecto. l miente, no es rico, y es un mendigo. Pero, el hombre ama a la mujer y su amor es ms importante que sus defectos.

Vocabulario Pertinente La brisa: breeze Partida: departure Bondadoso/a: good natured La confianza: confidence Equivocarse: to make a mistake Honrado/a: honest Manitico: compulsive Mentiroso: lying Egosta: selfish Ingrato/a: ungrateful Humilde: humble

Creo que el amor es ms importante que las fallas que tiene la gente. Las personas son capaces de cambiar sus defectos para que sean mejores, pero el amor no se puede cambiar.

Pginas A Julia de Burgos (Page 136)

Ya las gentes murmuran que yo soy tu enemiga porque dicen que en verso doy al mundo mi yo. Mienten, Julia de Burgos. Mienten, Julia de burgos. La que se alza en mis versos no es tu voz: es mi voz porque t eres ropaje y la esencia soy yo; y el ms profundo abismo se tiende entre las dos. T eres fra mueca de mentira social, y yo, viril destello de la humana verdad. T, miel de cortesana hipocresas; yo no; que en todos mis poemas desnudo el corazn. T eres como tu mundo, egosta; yo no; que en todo me lo juego a ser lo que soy yo. T eres slo la grave seora seorona; yo no, yo soy la vida, la fuerza, la mujer. T eres de tu marido, de tu amo; yo no; yo de nadie, o de todos, porque a todos, a todos en mi limpio sentir y en mi pensar me doy. T te rizas el pelo y te pintas; yo no; a m me riza el viento, a m me pinta el sol. T eres dama casera, resignada, sumisa, atada a los prejuicios de los hombres; yo no; que yo soy Rocinante corriendo desbocado olfateando horizontes de justicia de Dios. T en ti misma no mandas; a ti todos te mandan; en ti mandan tu esposo, tus padres, tus parientes, el cura, el modista, el teatro, el casino, el auto, las alhajas, el banquete, el champn, el cielo y el infierno, y el que dirn social. En m no, que en m manda mi solo corazn, mi solo pensamiento; quien manda en m soy yo. T, flor de aristocracia; y yo, la flor del pueblo. T en ti lo tienes todo y a todos se lo debes, mientras que yo, mi nada a nadie se la debo. T, clavada al esttico dividendo ancestral, y yo, un uno en la cifra del divisor social somos el duelo a muerte que se acerca fatal. Already the people murmur that I'm your enemy they say that in verse I give my self to the world. They lie, Julia de Burgos. They lie, Julia de Burgos. Who rises in my verses is not your voice is my voice because you are the dressing and the essence is me; and more profound abyss is spread between the two. You are cold doll of social lies, and I, virile spark of human truth You, honey of courtesan hypocrisies, I do not; that in all my poems bare the heart. You are like your world, selfish; I do not, that in every game I become what I a You are only serious lady very lady, I do not, I am life, strength, woman. You are of your husband, your master, I do not; I for one, or all, because everyone, Clean all on my mind and in my thinking I. You curl your hair and paint yourself, I do not; curls my hair the wind, I painted the sun. You are a housewife, resigned, submissive, tied to the prejudices of men, I do not; I am running runaway sniffing horizons of God's righteousness. You do not send in yourself; I send you all, in whom your husband, your parents, your family, the priest, the dressmaker, theater, casino, car, jewelry, the banquet, champagne, heaven and hell, and they will say social. Not in me, that in me only my heart, My only thought: who governs in me is me You, flower of the aristocracy, and I, the flower of the people. You have everything in you and to everyone it must, while I, my nothing I owe anybody. You nailed the static ancestral dividend, and I, a one in the figure of the divisor social are the duel to the death who fatally approaches.

Cuando las multitudes corran alborotadas dejando atrs cenizas de injusticias quemadas, y cuando con la tea de las siete virtudes, tras los siete pecados, corran las multitudes, contra ti, y contra todo lo injusto y lo inhumano, yo ir en medio de ellas con la tea en la mano.

When the multitudes run rioting leaving behind ashes of injustice burned, and with the torch of the seven virtues, after the seven sins, run the crowds, against you and against all unjust and inhuman, I will go through them with the torch in his hand

Ideas / Temas Principales

Vocabulario Pertinente

Conexin Personal

Capitulo 5 Vocabulario
Primer Parte
Abrazar Agradecer (zc) Amar El bien La bondad Calumniar Carioso/a Los celos El chisme/ el cotilleo (Spain) Chismear Comprometerse Dar por sentado Declrasela (a) Los dems Disculpar Discutir En resumidas cuentas El entendimiento El gesto Hacer las paces Herir (ie, i) (in)fiel Mandn/mandona Molestar La molestia El nivel La pareja Pedir (i,i) disculpas Perdona, pero . Pesado/a El propsito Querer (ie) Sugerir (ie, i) Tener celos Voy a explicar mis razones To embrace To be grateful for, to thank To love deeply Good deed Kindness To slander Affectionate Jealousy Gossip To gossip To get engaged, to commit oneself To take for granted To propose to (someone), To confess one s love The others To forgive To argue In short . Understanding Gesture To make peace To wound (un)faithful Bossy To annoy, to bother Bother Level Couple, pair To ask for forgiveness Excuse me, but . Boring, tedious Purpose To love (someone), to want (something) To suggest To be jealous I m going to explain my reasons

Segunda Parte
A menudo La angustia Atrevido/a Buscar Cabizbajo/a Callado/a La carcajada El comportamiento Consentido/a Cruzar Divorciarse Dominar Envidiar Esperar Fracasar La inseguridad Irritar Malcriado/a Pagar Pararse Pelearse Poseer Rerse (i, i) La risa Separarse Sinvergenza Tacao/a

Often Anguish Daring, bold To look for Downcast, dejected Quiet Loud laugh Behavior Spoiled To cross To divorce To control To envy To wait for, to hope for To fail Insecurity To irritate Bad-mannered To pay for To stand (up), to stop To fight To possess To laugh Laugher To separate Shameless Stingy

Subjunctive vs. Indicative in Adjective Clauses

An adjective clause is a clause that modifies a noun. The subjunctive is used when the adjective clause refers to an indefinite or nonexistent person or thing. Like the noun clause, most adjective clauses are most adjective clauses are connected to the main clause with que, but they can also be joined with conjunctions like donde. Indefinite Antecedent: Ex. Busco una novia que sea sensible. I m looking for a girlfriend who is sensitive. Ex. Ana necesita un amigo que le d consejos. Ana needs a friend who will give her advice. Ex. Queremos un mundo donde se viva en paz. We want a world where one lives in peace. Nonexistent Antecedent: Ex. No veo a ningn chico que me guste. I don t see any boy that I like. Ex. No hay nadie aqu que se atreva a bailar el merengue. There is no one here who dares to dance the merengue. When the dependent clause refers to a specific person or thing that is certain or definite, the indicative is used. Ex. Tengo un novio que siempre da el primer paso para hacer las paces. I have a boyfriend who always takes the first step to make up. Ex. Ese es el chico que me entiende. That s the boy who understands me. y y Note that in questions, the existence itself of the person or object is being questioned, and consequently, the subjunctive is generally used. Ex. Conoce usted a alguien que no tenga problemas? Do you know anyone who doesn t have problems. Ex. Hay alguien aqu que me pida disculpas? Is there anyone here who will ask for my forgiveness? There are no set expressions that trigger the subjunctive in adjective clauses, but some common phrases include the following: - Necesitar (algo) que - Buscar (a alguien, una persona, etc.) que - No conocer a nadie que - No hay nadie que Ex. Necesito una persona que me quiera. I need a person who loves me. Ex. No hay nadie que me acepte sin querer cambiarme. There is no one who accepts me without trying to change me.

The Future Perfect and Pluperfect Tenses

The Future Perfect:
The future perfect is used to express an action, which will be finished by a certain point in time. Form the future perfect with the future of the auxiliary verb haber and the past participle. Ex. Mis padres habrn enviado la tarjeta postal antes de volver a Mxico. My parents will have send the postcard before returning to Mexico. Ex. Cuando la lea, habr hablado con ellos por telfono. When I read it, I will have talked to them on the phone. Ex. Me habrn dicho, que vendrn a visitarme aqu en Guadalajara. They will have told me that they will come to visit me here in Guadalajara. Haber Example: Future Habr Habrs Habr Habremos Habris Habrn

Yo Tu Usted/l/ella Nosotros/as Vosotros/as Ustedes/ellos/ellas

Tomado/comido/vivido

The future perfect can also be used to express probability or conjecture about what may have happened in the past, yet may be related to the present. Ex. Se le habr declarado a Estela ya? I wonder if he has proposed to Estela already. Ex. Se habrn enamorado alguna vez? I wonder if they have ever fallen in love.

The Pluperfect

The pluperfect is used to refer to an action or event that took place before another past action or event. y Like the present perfect tense, the pluperfet is a compound tense. It is formed with the imperfect tense of haber + past partciple. Haber Example: Imperfect Haba Habas Haba Habamos Habais Haban

Yo Tu Usted/l/ella Nosotros/as Vosotros/as Ustedes/ellos/ellas y

Tomado/comido/vivido

Remember that in compound tenses, the auxiliary haber and the past participle are always kept together; haber must agree with the subject, and the past participle stays the same. Ex. Hasta ese momento, Ana siempre me haba cado bien. Until that moment, I had always liked Ana. Ex. Tu novio no haba sido posesivo antes. Your boyfriend had not been possessive before.

Comparisons with Nouns, Adjectives, Verbs, Adverbs, and Superlatives

Comparisons of Equality:
y In Spanish, use nouns in the tanto/a(s) como construction to make comparisons of equality of nouns (e.g., as much affection as; as many friends as). Note that tanto/a(s) agrees in gender and number with the noun it modifies or replaces Tanto/a(s) + noun + como Ex. Mi tia da tantos consejos como mi madre. My aunt gives as many pieces of advice as my mother. Ex. Mi padre tiene tanta paciencia como tu padre. My father has as much patience as your father. y Comparisons of equality of adjectives (e.g., as nice as) and adverbs (e.g., as slowly as) are made with the tan como construction. Tan is an adverb and so is invariable. Tan + adjective/adverb + como Ex. La Dra. Cisneros es tan callada como su esposo. Dr. Cisneros is as quiet as her husband. Ex. Carlos se le declaro a Ana tan suavemente como un poeta. Carlos proposed to Ana as smoothly as a poet. y Make comparisons of equality of verbs (e.g., plays as much as) with tanto como. Tanto in this context is an adverb and is invariable. Verb + tanto como + subject of second (implied) verb Ex. Mara del Carmen apoya a los dems tanto como su mama. Maria del Carmen supports others as much as her mother does. Ex. Mis amigos hispanos se dan la mano tanto como nosotros. My Hispanic friends shake hands as much as we do.

Comparisons of Inequality:
y When the relationship is unequal, use mas/menos que for nouns, adjectives, and adverbs. Use mas/menos que after verbs, Ms/menos + adjective/adverb/noun + que Ex. Mxico es ms grande que Peri. Mexico is bigger than Peru. Ex. Per esta ms lejos de aqu que Mxico. Peru is farther from here than Mexico. Verb + ms/menos + que Ex. Yo sufro ms que tu. I suffer more than you (do). y If the focus of the comparison is a number, substitute de for que. Ex. En una versin de la leyenda, don Juan tiene ms de diez hijos ilegtimos. In one versin of the legend,don Juan has more than ten illegitimate children.

Bueno/a Grande Joven Malo/a Pequeo/a Viejo/a y

Adjective

Irregular & Regular Comparative Forms Regular Form Ms bueno/a Ms grande Ms joven Ms malo/a Ms pequeo/a Ms viejo/a

Irregular Form Mejor (better) Mayor (bigger) Menor (younger) Peor (worse) Menor (smaller) Mayor (older)

Mejor and peor, which occur more often than the regular forms, are used to describe quality and performance related to both people and objects. Ms bueno que and Ms malo que usually refer to moral, ethical, and behavioral qualities. Ex. El promedui de Lucinda es mejor que el de su hermana. Lucinda s average is better than her sister s. Ms grande and ms pequeo are often used to refer to size, while mayor and menor refer primarily to age. Ex. La Ciudad de Mexico es ms grande que Nueva York. Mexico City is bigger than New York City.

Superalatives:
y The superalative (the most, the greatest, the worst, etc.) in Spanish is expressed with the definite article (el/la/los/las) and ms or menos. Note that the preposition de is the Spanish equivalent of in for this structure. El/la/los/las (noun) + ms/menos + adjective + de Ex. Lusito es el ms grosero de la clase. Luisito is the most vulgar one in the class. y When a noun is used with the superlative, the article precedes the noun in Spanish. Ex. Lucrecia es la persona ms solitaria de la universidad. Lurecrecia is the most solitary person in the university. The irregular comparatives are also used for the superlatives. Ex. Esa fue la peor experiencia de mi vida. That was the worst experience of my life.

Imgenes Madre e Hijo & Madre Proletaria (Page 164)

Madre e Hijo

Madre Proletaria

Caractersticas Perspectivas de la artista

Madre e Hijo
- Un hombre europeo rico de clase ms alta - Blanco - Gris - Rosado - Los colores de calor - Realstica - Lneas suaves Motherly Love - Amor entre madre e hijo - Despreocupada sin problemas - Su hijo representa felicidad - Ser madre es hermoso - Madre son fuertes tiene responsabilidades solas

Madre Proletaria
- Una mujer Mexicana de clase media baja - Colores oscuros - Colores de fros - Colores de fuertes - Caf - Mas verde - Realstica un poco - Lneas suaves Struggles - No le importa su hijo - La frustracin de ser madre pobre y sola - Problemas econmicos y como afectan las relaciones - Ser madre no es fcil - Los nios son muy afectados por la pobreza

Colores

Estilos

Tema

Mensaje

Ritmos Don Pedrito (Page 165)

--Muy buenas tardes, don Pedro. Con usted quisiera hablar. Aunque estoy medio nervioso, Tratar de comenzar. --Es acerca de su hija, Teresita, la mayor. Nos gustamos hace tiempo Y decidimos los dos: Que para estar a escondidas es mejor Que yo venga y platique con usted Y despus que terminemos Yo espero que est de acuerdo --Mi hija no est para novios Pierde el tiempo, jovenzuelo --Hice ms de lo que pude. Habl como un caballero Y vine con la esperanza Que estuviera usted de acuerdo. Pero no. Como no hay remedio CORO: No la aguante ms, Don Pedrito, no la aguante ms No la aguante ms, Don Pedrito, me la vo a llevar Teresita, la mayor Nos gustamos hace tiempo Y decidimos los dos Juntar nuestros sentimientos CORO: Quiero serle sincero; Quiero casarme con ella Porque a ella yo la quiero No, me la aguante, don Pedro! Oiga, don Pedro, y me va a dejar morir? Yarey!... Ella podr ser su hija Y mi esposa ella ser porque se hija es la ms bella del mundo3 Y este amor, tan profundo - Good afternoon, Don Pedro. You want to talk. Although I'm half nervous, Try to start. - It's about your daughter, Theresa, the eldest. We like long We decided the two: That to be hidden is better I come and talk to you And after we finish I hope you agree - My daughter is not for boyfriends Waste time, young man - More than I could. I spoke like a gentleman And I came in the hope That you would agree. But no. Since there is no remedy ... CHORUS: Do not hold more Don Pedrito, do not hold more Do not hold more Don Pedrito, I'm taking Teresita, most ... We like long We decided the two Gather your feelings CHORUS: I want to be honest; I want to marry her Because I love her No, hold me, Don Pedro! Hey, Don Pedro, What will let me die? Yarey! ... She may be your daughter ... And my wife she will be ... ... because it is the most beautiful in the world And this love, so deep ...

Le prometo, la vo a a cuidar Esa negrita me ha robado el corazn, Oye, por eso conmigo se va!... Yo me la llevo Conmigo quiere estar, don Pedro Por la noche Hasta que se rompa el cuero --Por eso mi hija conmigo esta rebelada Porque la tiene con la mene lavada --De maanita se va a tirar por la ventana Va estar conmigo hasta las cinco e la maana

I promise, I'll take care ... That bold stole my heart, Hey, why are you with me! ... I'm taking Want to be with me, Don Pedro At night Until it breaks the leather - So my daughter with me this revolted Because the mind is washed - From early morning is to throw out the window Will be with me until five o'clock

Cual es la problema del cantante? con quien tiene que hablar? Por que? El problema en la cancin es que el padre no puede su hija hacer casarse. What is the problem of the singer? With whom can he talk with? Why? The problem in the song is that the parent can not allow his daughter to get married. Cuales son los sentimientos de la chica? como lo sabes? A ella le encanta Don Pedrito, porque va en contra de su padre para estar con Don Pedrito. Ella se tiraba por la ventana de don Pedrito. What are the feelings of the girl? How do you know? She loves Don Pedrito, because it goes against his father to be with Don Pedrito. She was thrown through the window to be with Don Pedrito. Que decide hacer el cantante para resolver su dilema? Para resolver el dilema, los dos de ellos salir por la noche para casarse sin el padre. What do the singer decides to solve his dilemma? To resolve the dilemma, the two of them out at night to marry without the father. Esta de acuerdo con lo que decide hacer el cantante al final? S, estoy de acuerdo porque creo que si amas a alguien, usted debera ser capaz de estar con ellos si su familia no est de acuerdo. Do you agree with what the singer decides to end? Yes, I agree because I think if you love someone, you should be able to be with them if your family does not agree. Conoces un caso semejante de la vida real o de ficcin? Como es? Un buen ejemplo es Romeo y Juliet. Los padres de ellos no quieren los jvenes ser juntos pero ellos estaban enamorados. Entonces ellos quedan juntos. Do you know similar case of real life or of fiction? What is it? A good example is Romeo and Juliet. The parents of these young people do not want to be together but they were in love. Then they stay together.

Piensas que pedir la mano de la novia es un fenmeno cultural o es mas o menos igual en la mayora de las culturas? Conoces algn caso diferente? Yo creo que lo es el mismo en la mayora de culturas. Padres naturales estn importantes en todas culturas. Do you think that to ask the hand of the girlfriend is a cultural phenomenon or is more or less the same in the majority of cultures? Do you know of a different case? I think it is the same in most cultures. Natural parents are important in all cultures. Piensas que la tradicin de pedir la mano esta pasada de moda? Si, yo creo que esta tradicin esta pasada de moda, por lo menos in los estados unidos. Yo digo este porque muchas personas van a lugares como Las Vegas casarse y yo conozco a personas quien casarse sin el premiso de sus padres. Do you think that the tradition of asking for the hand is out of style? Yes, I believe that this tradition is outdated, at least in the United States. I say this because many people go to places like Las Vegas to get married and I know people who marry without their parent's permission.

Ideas / Temas Principales

-Pedrito y Teresa no seguan la regla del padre para su amor. - Las tradiciones de familia en Espaa es seguir las reglas del padre. Necesita la permisin del padre para casarse su hija.

Vocabulario Pertinente Analizar: to analyze Amar: to love deeply Carioso/a: caring La autoestima: self esteem El carcter: personality Despreocupado: carefree Evaluar: to evaluate Inseguro: insecure Comprometerse: to get engaged La pareja: couple/pair El rasgo: characteristic Querer (ie): to love (someone)

Conexin Personal

Yo hago que feliz. Me hace amor es una vez en una vida y es mas importante.

Ritmos Don Pedrito (Page 165)

El mundo cambio mientras dorma, y para mi sorpresa, nadie me haba consultado. De all en adelante siempre seria igual. Apenas tenia ocho anos y haba pasado horas sonando nieras, como hacen los nios. Mi papa, quien se acordaba perfectamente de su anterior reencarnacin como el rey Luis XVI de Francia, posiblemente sonaba con bailes de disfraces, turbas y guillotinas. Mi mama, que no se acordaba de haber sido Mara Antonieta, no hubiera podido compartir sus sueos. Quizs sonaba con ngeles, porque siempre me deca antes de acostarme, Suena con los angelitos. El hecho de que fueran pequeos quera decir que eran demasiado monos para ser ngeles cados. Que lejos de La Habana me encontraba! El asoleado Miramar, donde no haba ni un solo ladrillo carmelita ni vientos que te golpeaban, era para entonces como en sueno. No se diferenciaban en lo mas mnimo de las fantasas que lucubraba mi cerebro mientras dorma en un sof-cama en la sala de nuestro apartamento en el stano del North Side de Chicago. Mi hermano y yo habamos vivido como hurfanos en los EE. UU. Por mas de tres anos y medio en campamentos y orfelinatos y, mas recientemente, con nuestro to Amado en un pequeo pueblo en el centro de Illinois. Estaba muy contento en la casa de Amado, mas contento de lo que haba estado lo mayora de mi vida. Pero nuestra mama finalmente pudo salir de Cuba, despus de tratar por tres anos desesperantes, y el Sr. Sandoval, del Refugio del Centro Cubano de Miami, la haba enviado a vivir a Chicago. Vamos a ver, usted no habla ni una palabra de ingles, usted tiene un impedimento fsico, y usted nunca ha trabajado en su vida. Su marido esta en Cuba y tiene dos adolescentes que usted no ha visto en mas de tres anos. Creo que Chicago es el lugar para ustedes. Si, Chicago. Hay muchas fabricas all. Casi todo el mundo que hemos enviado all ha podido conseguir trabajo en una fabrica. As fue como terminamos en Chicago, gracias a la agilidad mental del Sr. Sandoval. Mara Antonieta no sabia como buscar trabajo. Dadas sus circunstancias, hizo lo mejor que pudo, solicitando empleo solo en los lugares donde otros cubanos haban encontrado trabajo. En ningn lugar la queran emplear. Entonces fuimos a la oficina de servicios pblicos a pedir ayuda. Pero el Sr. Fajardo, el trabajador social puertorriqueo que nos vio en el departamento de asistencia publica, no nos ayudo mucho. Mara Antonieta no sabia que no se supona que uno se vistiera elegantemente cuando iba a pedir ayuda econmica. Vesta un bello abrigo de gamuza que

The world changed while I slept, and to my surprise, no one had consulted me. Thereafter it would always be the same. He was barely eight years and had spent hours playing childish things, as children do. My father, who remembered well from his previous incarnation as King Louis XVI of France, probably dreamed of costume balls, mobs and guillotines. My mom, she did not remember having been Marie Antoinette, could not share their dreams. Perhaps dreamed of angels, because he always told me before bed, "sounds with the angels." That meant they were little monkeys were too to be fallen angels. How far I was in Havana! The sunny Miramar, where there was not a single brick brown or winds that struck you was that time and in sleep. Not in the least differentiated of the fantasies that lucubraba my brain while I slept on a sofa bed in the living room of our apartment in the basement of the North Side of Chicago. My brother and I had lived as orphans in the United States. For over three and a half years in camps, orphanages and more recently, with our beloved uncle in a small town in central Illinois. I was very happy in the house of Amado, happier than she had been what most of my life. But our mother was finally able to leave Cuba, after trying for three years, desperate, and Mr. Sandoval, the Cuban Refugee Center of Miami, was sent to live in Chicago. "Let's see, you do not speak a word of English, you have a physical, and you have never worked in your life. Her husband is in Cuba and has two teenagers that you have not seen in over three years. I think Chicago is the place for you. Yes, Chicago. There are many factories there. Almost everyone we've sent there has been able to get a job in a factory. " That's how we ended up in Chicago, thanks to the quick thinking of Mr. Sandoval. Marie Antoinette did not know how to find work. Given the circumstances, did the best he could, seeking employment only in places where other Cubans had found work. In no place wanted to use. Then we went to the office of public services for help. But Mr. Fajardo, Puerto Rican social worker who saw us in the department of welfare, not helped us much. Marie Antoinette did not know you were not supposed to dress smartly when going to ask for financial aid. She wore a beautiful suede coat that

una amiga rica le haba dado en Mxico mientras esperaba una visa americana. Tiene dos hijos grandes, seora. Los dos podran encontrar trabajo en un instante. No, no le podemos ofrecer nada, seora. En este pas trabajar es crucial. Trabajo, trabajo, trabajo! Pienso que le puedo conseguir un cheque de asistencia social por un mes, mientras sus hijos buscan trabajo. Despus de eso, depende de ustedes el ganar dinero . Termine trabajando de lavaplatos en el Conrad Hilton Hotel. Les dije que tenia diez y ocho anos. No deje de ir a la escuela ni un solo da. Y tampoco deje de trabajar un solo da. Mi horario era simple. Todos los das, de mircoles a domingo, trabajaba en el Hilton desde las cuatro de la tarde hasta las dos de la maana. Los lunes los martes no tenia trabajo. Todos los das de lunes a viernes iba a la escuela, desde las ocho de la maana hasta las tres y cuarto de la tarde. No tenia tiempo para la tarea, excepto las lunes y los martes, y un periodo de study hall todos los das. Asistir a la Escuela Secundaria Senn era un placer comparado a trabajar en el Conrad Hilton. Era un terrible lavador de platos. A mis compaeros de trabajo, todos los cuales eran puertorriqueos, les haba dado por llamarme cubita . Todos ellos saban que haba mentido sobre mi edad, hasta el jefe. Llego la cosa a tal punto que cada vez que algo se rompa, mis colegas gritaban, Tiene que ser cubita! O simplemente al sonido de vasos rotos comenzaban a gritar, cubita, cubita, cubita! La peor parte del trabajo era caminar las cuatro cuadras hasta la estacin del metro de Harrison St. A las dos a las tres de la maana, pasando por los bares topless, las casas de indigentes, las misiones y montarme en el tren a casa. Cuando llegaba al edificio donde se encontraba nuestro apartamento en la esquina suroeste de Winthrop y Hollywood, Mara Antonieta estaba mirando por la ventana del stano, su cabeza al nivel de la acera, esperndome, como siempre. Ella haba luchado grandemente durante tres anos para llegar a nosotros, lo haba dejado todo, incluyendo a su marido, madre, padre, hermano, hermana y patria, solo para encontrarse pasando todo el da y toda la noche en un apartamento vaco. Ella nos cocinaba y limpiaba la casa y nos lavaba la ropa, que era un cambio positivo comparado a los que nos habamos acostumbrado, pero aparte de darnos todo su amor, eso era todo lo que poda hacer. Mi hermano y yo nos convertimos en sus guardianes. La mantenamos. Hablbamos por ella. Le leamos los peridicos y le interpretbamos

a friend had given rich in Mexico while awaiting an American visa. "He has two grown children, ma'am. The two would work in an instant. No, we can not offer anything, ma'am. In this country work is crucial. Work, work, work! I think that I can get a welfare check for a month, while their children are looking for work. After that, up to you to make money. " End up working as a dishwasher at the Conrad Hilton Hotel. I told them I was eighteen years old. Do not stop going to school a single day. And do not stop working one day. My schedule was simple. Every day, Wednesday to Sunday, worked at the Hilton at four in the afternoon until two o'clock. On Mondays, Tuesdays had no work. Every day from Monday to Friday went to school from eight o'clock until a quarter past three in the afternoon. I had no time for homework, except Mondays and Tuesdays, and a period of study hall every day. Attend High School Senn was a pleasure compared to work at the Conrad Hilton. It was a terrible dishwasher. To my colleagues, all of whom were Puerto Rican, had taken to calling me "cubita". They all knew that he had lied about my age, to the boss. I get the thing to the point that every time something broke, my colleagues shouted, "It must be cubita" Or just the sound of broken glass began yelling, "cubita, cubita, cubita!" The worst part of the work was to walk the four blocks to the subway station of Harrison St. At two to three o'clock, to topless bars, houses of poor, missions and get on the train home. When it came to the building where our apartment was on the southwest corner of Winthrop and Hollywood, Marie Antoinette was looking out the basement window, his head level with the sidewalk, waiting, as always. She had struggled greatly over three years to reach us, had left everything, including her husband, mother, father, brother, sister and home, only to be happening all day and all night in an empty apartment. She cooked and cleaned our house and we did the laundry, which was a welcome change compared to those we were accustomed, but apart from giving us all their love, that was all I could do. My brother and I became his guardians. The we kept. We talked about her. We were reading the newspapers and

las pelculas y los programas de televisin. La llevbamos a lugares en autobuses y trenes. No nos poda aconsejar en nada de importancia, o por lo menos eso creamos. Y casi no pasbamos tiempo con ella. Su amor por nosotros era infinito, y nosotros no lo aprecibamos.

we interpreted the films and television programs. The places we carried on buses and trains. We could advise on anything of importance, or at least so we thought. And almost did not spend time with her. His love for us was infinite, and we are not appreciated.

Ideas / Temas Principales

-La tema esta haciendo algo pasa no que nunca puede pasar. - Haciendo la decisin entre familia y una vida mas buena.

Vocabulario Pertinente Analizar: to analyze La autoestima: self esteem El carcter: personality Despreocupado: carefree Evaluar: to evaluate Inseguro: insecure El rasgo: characteristic Dominar: to control El comportamiento: behavior Envidiar: to envy Pararse: to stand up (something)

Conexin Personal

Cules eran los sueos imposibles que ustedes tenan a los ocho aos?