Spanish Verbs and Essential Grammar Review
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Top Ten Tips for Spanish
TOP TEN TIPS FOR SPANISH 1. Vocabulary The best way to learn vocabulary is to use note cards. Put English on one side and Spanish on the other. Try to study new words daily for short rather than long periods of time. This will improve your retention. When studying vocabulary, try to form phrases with the new words. Relate this vocabulary to your own language (English) by using a cognate dictionary or a thesaurus. When convenient, relate vocabulary to your personal life. One example would be labeling parts of your kitchen and items in it with Spanish names and corresponding verbs. 2. Gender In Spanish, all nouns are classified as either masculine or feminine. You can determine gender by looking at the article of the noun or the adjective that corresponds to that noun. (It is a good idea to include articles with the nouns on your note cards.) Masculine nouns with a definite article ("the" in English) use el if singular and los if plural. Examples are el gato (the cat) and los gatos (the cats). Masculine nouns with an indefinite article ("a," "an," or "some") use un if singular and unos if plural. Examples are un gato (a cat) and unos gatos (some cats). Feminine nouns with a definite article use la if singular and las if plural. Examples are la pluma (the pen) and las plumas (the pens). Feminine nouns with an indefinite article use una pluma (a pen) and unas plumas (some pens). While nouns usually end with an "o" if they are masculine or with an "a" if they are feminine, not all of them do, such as la mano (the hand) and el mapa (the map). -
Serial Verb Constructions Revisited: a Case Study from Koro
Serial Verb Constructions Revisited: A Case Study from Koro By Jessica Cleary-Kemp A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Lev D. Michael, Chair Assistant Professor Peter S. Jenks Professor William F. Hanks Summer 2015 © Copyright by Jessica Cleary-Kemp All Rights Reserved Abstract Serial Verb Constructions Revisited: A Case Study from Koro by Jessica Cleary-Kemp Doctor of Philosophy in Linguistics University of California, Berkeley Associate Professor Lev D. Michael, Chair In this dissertation a methodology for identifying and analyzing serial verb constructions (SVCs) is developed, and its application is exemplified through an analysis of SVCs in Koro, an Oceanic language of Papua New Guinea. SVCs involve two main verbs that form a single predicate and share at least one of their arguments. In addition, they have shared values for tense, aspect, and mood, and they denote a single event. The unique syntactic and semantic properties of SVCs present a number of theoretical challenges, and thus they have invited great interest from syntacticians and typologists alike. But characterizing the nature of SVCs and making generalizations about the typology of serializing languages has proven difficult. There is still debate about both the surface properties of SVCs and their underlying syntactic structure. The current work addresses some of these issues by approaching serialization from two angles: the typological and the language-specific. On the typological front, it refines the definition of ‘SVC’ and develops a principled set of cross-linguistically applicable diagnostics. -
Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions Robert C
Loyola University Chicago Law Journal Volume 40 Article 3 Issue 1 Fall 2008 2008 Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions Robert C. Farrell Quinnipiac University School of Law Follow this and additional works at: http://lawecommons.luc.edu/luclj Part of the Law Commons Recommended Citation Robert C. Farrell, Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions, 40 Loy. U. Chi. L. J. 1 (2008). Available at: http://lawecommons.luc.edu/luclj/vol40/iss1/3 This Article is brought to you for free and open access by LAW eCommons. It has been accepted for inclusion in Loyola University Chicago Law Journal by an authorized administrator of LAW eCommons. For more information, please contact [email protected]. Why Grammar Matters: Conjugating Verbs in Modern Legal Opinions Robert C. Farrell* I. INTRODUCTION Does it matter that the editors of thirty-three law journals, including those at Yale and Michigan, think that there is a "passive tense"? l Does it matter that the United States Courts of Appeals for the Sixth2 and Eleventh3 Circuits think that there is a "passive mood"? Does it matter that the editors of fourteen law reviews think that there is a "subjunctive tense"?4 Does it matter that the United States Court of Appeals for the District of Columbia Circuit thinks that there is a "subjunctive voice'"? 5 There is, in fact, no "passive tense" or "passive mood." The passive is a voice. 6 There is no "subjunctive voice" or "subjunctive tense." The subjunctive is a mood.7 The examples in the first paragraph suggest that there is widespread unfamiliarity among lawyers and law students * B.A., Trinity College; J.D., Harvard University; Professor, Quinnipiac University School of Law. -
Spanish - Español
SPANISH - ESPAÑOL ¿Qué haces? What do you do/What are you doing? Cantar Tocar Bailar Nadar To sing To play To dance To swim Saltar Hablar Escuchar To jump To speak To listen Mirar Caminar To look To walk Spanish verb conjugations For many Spanish learners, conjugations are one of the trickiest parts of the language to get used to. Verb conjugation in Spanish often seems unpredictable, with few rules to follow. That’s because Spanish has so many irregular verbs. But if you think about it, so does English! Think find/found, sell/sold and ring/rang, to name just a few. You already learned those patterns, so you can do it again with Spanish. The good news is most other aspects of Spanish are much easier. You can learn regular Spanish verb conjugation patterns pretty fast. And once you know the basics, and some of the common irregular verbs, it’s easier to get a sense of how a verb should change. Spanish Verb Tenses: The 3 Main Tenses to Master The three main tenses you should learn first in Spanish are the present (el presente), the past (also called the preterite, el pretérito), and the future (el futuro). They’re the ones you’ll run into most. You can get a lot of things across from these tenses and still be understood in the beginning. If you’re curious, there’s also the imperfect, perfect, conditional, subjunctive, imperative, and gerund forms, too. But you should go back to those later after you’ve mastered the main three tenses. -
30. Tense Aspect Mood 615
30. Tense Aspect Mood 615 Richards, Ivor Armstrong 1936 The Philosophy of Rhetoric. Oxford: Oxford University Press. Rockwell, Patricia 2007 Vocal features of conversational sarcasm: A comparison of methods. Journal of Psycho- linguistic Research 36: 361−369. Rosenblum, Doron 5. March 2004 Smart he is not. http://www.haaretz.com/print-edition/opinion/smart-he-is-not- 1.115908. Searle, John 1979 Expression and Meaning. Cambridge: Cambridge University Press. Seddiq, Mirriam N. A. Why I don’t want to talk to you. http://notguiltynoway.com/2004/09/why-i-dont-want- to-talk-to-you.html. Singh, Onkar 17. December 2002 Parliament attack convicts fight in court. http://www.rediff.com/news/ 2002/dec/17parl2.htm [Accessed 24 July 2013]. Sperber, Dan and Deirdre Wilson 1986/1995 Relevance: Communication and Cognition. Oxford: Blackwell. Voegele, Jason N. A. http://www.jvoegele.com/literarysf/cyberpunk.html Voyer, Daniel and Cheryl Techentin 2010 Subjective acoustic features of sarcasm: Lower, slower, and more. Metaphor and Symbol 25: 1−16. Ward, Gregory 1983 A pragmatic analysis of epitomization. Papers in Linguistics 17: 145−161. Ward, Gregory and Betty J. Birner 2006 Information structure. In: B. Aarts and A. McMahon (eds.), Handbook of English Lin- guistics, 291−317. Oxford: Basil Blackwell. Rachel Giora, Tel Aviv, (Israel) 30. Tense Aspect Mood 1. Introduction 2. Metaphor: EVENTS ARE (PHYSICAL) OBJECTS 3. Polysemy, construal, profiling, and coercion 4. Interactions of tense, aspect, and mood 5. Conclusion 6. References 1. Introduction In the framework of cognitive linguistics we approach the grammatical categories of tense, aspect, and mood from the perspective of general cognitive strategies. -
The Differences Between Spoken and Written Grammar in English, in Comparison with Vietnamese1
GIST EDUCATION AND LEARNING RESEARCH JOURNAL. ISSN 1692-5777. NO. 11, (JULY - DECEMBER) 2015. pp. 138-153. The Differences between Spoken and Written Grammar in English, in Comparison 1 with Vietnamese Las Diferencias entre la Gramática Oral y Escrita del Idioma Inglés en Comparación con el Idioma Vietnamita Nguyen Cao Thanh2* Tan Trao University, Vietnam Abstract The fundamental point of this paper is to describe and evaluate some differences between spoken and written grammar in English, and compare some of the points with Vietnamese. This paper illustrates that spoken grammar is less rigid than written grammar. Moreover, it highlights the distinction between speaking and writing in terms of subordination and coordination. Further, the different frequency of adverbials and adjectivals between spoken and written language is also compared and analyzed. Keywords: spoken and written grammar, English, Vietnamese 138 1 Received: July 15, 2015 / Accepted: September 10, 2015 2 [email protected] No. 11 (July - December 2015) No. 11 (July - December 2015) CAO Resumen El principal objetivo de este artículo es describir y evaluar algunas diferencias entre la gramática oral y escrita del idioma inglés y comparar algunos aspectos gramaticales con el idioma vietnamita. Esta revisión muestra como la gramática oral es menos rígida que la gramática escrita. Por otra parte, se destaca la distinción entre el hablar y el escribir en términos de subordinación y coordinación. Además, la diferencia en el uso de adverbios y adjetivos entre la gramática oral y escrita también es comparada y analizada. Palabras clave: gramática oral y escrita, inglés, vietnamita Resumo O principal objetivo deste artigo é descrever e avaliar algumas diferenças entre a gramática oral e escrita do idioma inglês e comparar alguns aspectos gramaticais com o idioma vietnamita. -
Adjective in Old English
Adjective in Old English Adjective in Old English had five grammatical categories: three dependent grammatical categories, i.e forms of agreement of the adjective with the noun it modified – number, gender and case; definiteness – indefiniteness and degrees of comparison. Adjectives had three genders and two numbers. The category of case in adjectives differed from that of nouns: in addition to the four cases of nouns they had one more case, Instrumental. It was used when the adjective served as an attribute to a noun in the Dat. case expressing an instrumental meaning. Weak and Strong Declension Most adjectives in OE could be declined in two ways: according to the weak and to the strong declension. The formal differences between the declensions, as well as their origin, were similar to those of the noun declensions. The strong and weak declensions arose due to the use of several stem-forming suffixes in PG: vocalic a-, o-, u- and i- and consonantal n-. Accordingly, there developed sets of endings of the strong declension mainly coinciding with the endings of a-stems of nouns for adjectives in the Masc. and Neut. and of o-stems – in the Fem. Some endings in the strong declension of adjectives have no parallels in the noun paradigms; they are similar to the endings of pronouns: -um for Dat. sg, -ne for Acc. Sg Masc., [r] in some Fem. and pl endings. Therefore the strong declension of adjectives is sometimes called the ‘pronominal’ declension. As for the weak declension, it uses the same markers as n-stems of nouns except that in the Gen. -
1 Comparing Pluralities Gregory Scontras
Comparing Pluralities Gregory Scontras ([email protected]) Department of Linguistics, Harvard University Peter Graff ([email protected]) Department of Linguistics and Philosophy, Massachusetts Institute of Technology Noah D. Goodman ([email protected]) Department of Psychology, Stanford University Abstract What does it mean to compare sets of objects along a scale, for example by saying “the men are taller than the women”? We explore comparison of pluralities in two experiments, eliciting comparison judgments while varying the properties of the members of each set. We find that a plurality is judged as “bigger” when the mean size of its members is larger than the mean size of the competing plurality. These results are incompatible with previous accounts, in which plural comparison is inferred from many instances of singular comparison between the members of the sets (Matushansky and Ruys, 2006). Our results suggest the need for a type of predication that ascribes properties to plural entities, not just individuals, based on aggregate statistics of their members. More generally, these results support the idea that sets and their properties are actively represented as single units. 1 Keywords: Comparatives; plurality; set-based properties; natural language semantics; mental representations Word count: 3801 1. Introduction When we think and talk about groups of individuals—pluralities—do we represent the collection as a single entity with its own properties? For example, when we say “the red dots are big” is there an aggregate size for the group of red dots to which we refer? In this paper we investigate this question by studying plural comparison—e.g. -
Music and Meaning in Three Zapotec Songs*
Music and Meaning in Three Zapotec Songs* Kathryn Goldberg Bryn Mawr College Senior thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Music at Haverford College April 2018 *I would like to thank my music advisor, Professor Richard Freedman, for his dedication to my project throughout its development. I would also like to thank my linguistics advisor, Professor Brook Danielle Lillehaugen, for her unyielding mentorship and guidance. I would like to thank my consultant, Gario Ángeles for his time and for sharing his music with me, as well as Moisés García Guzmán, Loida Contreras Hernández, and Dr. Felipe H. Lopez for their support and assistance with the transcription and translation of my interview with Gario Ángeles. Contents Abstract 4 List of Figures 5 List of Musical Examples 5 Introduction 6 First Hearings 7 Words, Sounds, and Music: How Sound is Reflected in Music 11 Teotitlán del Valle Zapotec 11 Tone and Music 12 Phonation and Music 14 Rhythmic Stress and Music 15 Words, Sounds, and Music: Meaning in the Songs of Gario Ángeles 17 How I Read and Hear a Song 17 “Rabante Luy” 21 “Luy Naou” 26 “Vainchieya te Lag” 30 Zapotec Music: Ángeles’s Place in the World of Music 34 Connecting Ángeles to Others 35 Music as Language Activism 40 Conclusion 43 Appendix 45 A Music Transcriptions 45 Transcription 1 Gario Ángeles, “Rabante Luy,” transcription by Kathryn Goldberg 46 Transcription 2 Gario Ángeles, “Luy Naou,” transcription by Kathryn Goldberg 49 Transcription 3 Gario Ángeles, “Vainchieya te Lag,” transcription by Kathryn Goldberg 52 B Lyrics and Translation, with timings 54 Lyrics and Translations 1 Gario Ángeles, “Rabante Luy,” translation by Kathryn Goldberg 54 Lyrics and Translations 2 Gario Ángeles, “Luy Naou,” translation by Kathryn Goldberg 56 Lyrics and Translations 3 Gario Ángeles, “Vainchieya te Lag” translation by Kathryn Goldberg 58 2 C Sound Recordings 59 Sound Recording 1 Gario Ángeles, “Rabante Luy,” m4a file. -
The Grammar of Relative Adjectives and Comparison
THE GRAMMAR OF RELATIVE ADJECTIVES AND COMPARISON Renate Bartsch FU Berlin and University of California, Los Angeles Theo Vennemann genannt Nierfeld University of California, Los Angeles 1. Earlier Approaches to the Problem of Relative Adjectives and Comparison. Speakers of English know that the following sentences have something in common. (0} John is 5 feet tall. (i) John is tall. (i,) Mary is tall. (2) John is taller than Mary. (3) John is as tall as Mary. (4) John is the tallest of Peter's sons. (5) John is short. (6) John is shorter than Mary. (7) John is as short as Mary. (8) John is the shortest of Peter's sons. Contemporary syntaeticians have tried to account for this knowledge. Most of them have assumed that sentences (i) and (I') are somehow involved in the derivation of sentences (2) - (4), viz. as part of their deep structures from which their more complex surface struc- tures are derived by means of syntactic transformations. This procedure did not, of course, arise accidentally. It is suggested by the relative complexity of the surface structures of these sentences, and is thus a direct result of the preoccupation of contemporary syntac- ticians with surface-syntactic properties of languages. The failure of most contemporary syntacticians to analyze and formulate the proper- ties of relative adjectives and comparison properly is, of course, by no means novel. On the contrary, they perpetuate (or renew) a venerable tradition which started two and a half thousand years ago with Plato's Theaetetus, and may thus consider themselves in excellent company. -
Spanish Resources
SPANISH RESOURCES SPANISH 1 BHS Enrichment Resources to accompany work assigned the week of May 11: Sports & Leisure Activities Vocabulary- https://quizlet.com/361733888/sports-leisure-activities-in-spanish-flash- cards/ Asking Questions- https://www.spanishdict.com/guide/asking-questions-in-spanish The verb Ir (practice) - https://www.123teachme.com/learn_spanish/quizzes_verb_ir_1 Ir + a + Infinitive- https://studyspanish.com/grammar/lessons/ira Stem-changing Verbs - https://www.spanishdict.com/guide/stem-changing-verbs Realidades 1 4A: https://quizlet.com/288990340/realidades-1-4a-vocabulary-flash-cards/ Realidades 1 4B: https://quizlet.com/280255252/realidades-1-cap-4b-flash-cards/ Enrichment Resources to accompany work assigned the week of May 18: Ser & Estar- https://www.spanishdict.com/guide/ser-vs-estar The Verb Tener-https://www.spanishdict.com/guide/the-spanish-verb-tener The Verb Venir-https://www.lawlessspanish.com/grammar/verbs/venir-lesson/ Enrichment Resources to accompany work assigned the week of May 25: Video Lesson On Making Comparisons-https://www.youtube.com/watch?v=BrkU3CUkvIE Comparison Practice-https://www.123teachme.com/learn_spanish/relative_superlative https://www.123teachme.com/learn_spanish/expressing_superiority_inferiority https://www.123teachme.com/learn_spanish/comparisons_inequality_2 The Verb Poder- https://www.livelingua.com/spanish/verbs/tenses/present/poder/ The Verb Dormir- https://www.livelingua.com/spanish/verbs/tenses/present/dormir/ Enrichment Resources to accompany work assigned the week of June -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference.