Sunday, May 17, 2020

How to Use the Spanish Verb Llamar

Llamar is a verb that you will use very early as you learn Spanish, because the verb is commonly used when asking someone his or her name, or when telling others your own name. However, llamar also is used in other ways and can be found in a variety of contexts, such as to refer to the making of a telephone call. Using Llamar With Names The literal translation of llamar is to call. Thus, when you are using llamar to ask someones name, you are literally asking what the person calls himself or herself. Knowing this will help you use the verb in other contexts. See how llamar is used in the context of specifying names:  ¿Cà ³mo se llama? (What is your/his/her name? Literally, how do you call yourself? How does he/she call himself/herself?) ¿Cà ³mo te llamas? (What is your name? Literally, how do you call yourself?)Me llamo ___. (My name is ___. Literally, I call myself ___.)La empresa se llama Recursos Humanos. (The business is named Recursos Humanos.) If youre a beginning Spanish student, you may not have learned yet about the use of reflexive verbs, those that use the -self pronouns in English. An explanation of reflexive verbs is beyond the scope of this lesson, but here it is most important to know that when youre using llamar to refer to what someone is named, you are using the reflexive form of the verb, llamarse, and you must use the reflexive pronoun (se, te or me in the sample sentences) with it. Using Llamar for Calling In other contexts, llamar most often means simply to call as in these examples: Él me llamà ³ pero no me dijo nada. (He called me, but he didnt tell me anything.)No voy a llamarlo. (I am not going to call him.)Tu madre te llama. (Your mother is calling you.) There is an ambiguity in the above sentences in both languages: While all these examples might be using to call in the sense of to telephone (telefonear), they arent necessarily doing so. You can make the distinction only from the context. Llamar also can mean to call in other situations as well: Los ministros de finanzas quieren llamar la atencià ³n sobre la biodiversidad. (The finance ministers want to call attention to biodiversity.)Me llamà ³ idiota. (He called me an idiot.)Al poco rato llamà ³ con los nudillos a la puerta. (A little bit later he knocked on the door. Literally, a little bit later, he called with his knuckles at the door.) As the third example above suggests, there may be times where you would translate llamar as to knock when the context so demands. For example, a simple sentence such as llama Marà ­a might be translated as thats Maria knocking if uttered when a knock is heard at the door, or thats Maria ringing if uttered when the telephone rings. Or a sentence such as està ¡n llamando (literally, theyre calling) might mean someone is ringing the doorbell or someone is calling on the phone. As always in matters of translation, context is key in determining what something means. Using Llamar Figuratively In some contexts, llamar can be used as meaning call in a broad or figurative sense, giving it the meaning of to be appealing or something similar. Like call, it can be used to indicate that something is drawing someone to it. La tecnologà ­a nueva llama la atencià ³n de cientos de millones de personas. (The new technology is drawing the attention of hundreds of millions of people.)La mà ºsica rock no me llama. (Rock music doesnt appeal to me.)A mi personalmente los videojuegos no me llaman, pero reconozco la importancia que està ¡n teniendo hoy dà ­a. (I personally dont care for videogames, but I recognize the importance they are having these days.) Words Related to Llamar Among the words related to llamar are: Llamada often refers to a telephone call, although it can refer to various kinds of signals or gestures used to call attention. La llamada era del presidente. (The call was from the president.) Some speakers also use llamado this way.As a noun, llamado can refer to a spiritual calling: Pedro recibià ³ un llamado al ministerio. (Pedro received a call to the ministry.)A doorbell, door buzzer, or doorknocker is often called a llamador. The word can also be used for a visitor, i.e., someone who comes calling.A call for action can be called a llamamiento. La Marcha por la Paz ha querido hacer este aà ±o un llamamiento para cuidar el planeta. (The March for Peace has wanted to make this year a call for care of the planet.)Something that calls attention to itself can be considered llamativo as explained in this lesson on translation. Surprisingly, llama as a noun isnt related to llamar. In fact, there are two unrelated nouns of the form llama: The name of the South American pack animal known as a llama comes from the Quechua language.Llama can also refer to a flame, and, like the English word, it is related to the Latin flamma. Spanish also uses the word flama. Key Takeaways Llamar has a general meaning very similar to that of to call and thus can usually be used to translate the English verb.The reflexive form, llamarse, is very commonly used in giving the name of someone or something.

Wednesday, May 6, 2020

Drug Abuse And Addiction Have Negative Consequences For...

â€Å"Drug abuse and addiction have negative consequences for individuals and for society† (DrugFacts: Understanding Drug Abuse and Addiction | National Institute on Drug Abuse (NIDA), n.d.). Whether it is illegal substances or it is prescription over use, drug addiction can affect the 18 year old college student or the 70 year old grandmother. Even though drug addiction is still a growing and constant problem each model is fighting to get this problem under control. In this paper we will discuss how each of the models address this issue. We will also discuss the strengths and weaknesses of how each model is addressing the problem. Directly following the above we will examine detoxification centers and Narcotics Anonymous and how they are helping to fight the battle against drug addiction. First let’s look at how the medical model address addiction. 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With the examples of contemporary Western Art, as Essay Example For Students

With the examples of contemporary Western Art, as Essay opposed to the period they are depicting, used in the lecture by Sand Kakuda there can be seen vast amounts of themes being played upon that are distinctly related to the Greco-Roman Era. Since these cultures are the primary beginnings of Western Civilization it is safe to say that their lifestyles, socially and politically, and works of art have served as a model and basis for art in cultures and generations to come. The legacy of the Greco-Roman culture can be seen in practically all of Western Art even up to the most contemporary works of today. The first two pieces called Le Dejeuner sur lHerbe, done in the 1980s, are used for comic purposes. However, one may ask why are they comedic and what was their influence? In the Greco-Roman culture nudity was accepted as something that showed the beauty of the human body, in both males and females. When looking at ancient art one can see that a vast majority of the models used are nude. To the Greeks and Romans the human body was a work of art. In contemporary times this is still the opinion. One can see works done today of nude models everywhere. The one main difference between more contemporary periods and the Greco-Roman period was that people wore transparent clothing or were practically nude in any situation, such as a picnic or a walk. In more contemporary times this behavior is not as accepted. The pieces shown in lecture were simply spoofing the behavior by interjecting modern environments and people. The humor is drawn from the awkwardness of the situati! on. More influence can be seen because the models are drawn in the same position as the Greeks and Romans had for models in their works of art. The actual work of art done by Manet in 1863 is influenced by the Greco-Roman legacy because it shows how these cultures viewed the body of the female. Manet uses many similar themes seen in Greco-Roman sculptures. He especially understood the view of the body these cultures had. For example the posing of the body, the smoothness of the lines, the silky texture of the skin, the physique of the woman, the hair color and the naturalistic setting all make clear what these cultures felt about the depiction of women. By understanding these concepts and using them so well, these paintings practically give the women god-like qualities. The next works seen were the Judgement of Paris(1520,Raimondi), the Fountain of Four Rivers(1648,Berini), and S. Maria Maggiore(430,Mosaic Detail). These works were influenced by the day to day activities of the aristocracy in the Greco-Roman cultures in peacetime. These cultures intensely enjoyed lounging around, eating, and drinking. This is shown in the paintings by the position of the body, as seen in sculptures. The figure is laid back on the ground or on a rock at a riverbank in an obviously relaxed position. They are usually by a body of water, which also signifies a relaxed atmosphere. The smooth lines used to draw the water and body give a relaxed feeling to the viewer of the art. These pieces also show the beauty of the human body. The figures are mostly men. They are perfectly shaped and toned to show the greatness of the culture. By doing this one can see that god-like attributes shown in the works which are representative of a perfect culture created by! beautiful gods. Even in contemporary times, leaders are shown in a relaxed state during peacetime, which depict the same principles as the Greco-Roman cultures did. The works entitled Gigantomacy, Treasury of the Siphnians, Delphi(525BCE,Greek Relief), Deidamia attacked by Centaurs, Temple of Zeus, Olympia(477BCE, Greek Relief), the Battle of Lapiths and Centaurs, Florence(1491, Michealangelo), and Athena Alcyoneus, Altar of Athena Zeus, Pergamum(180BCE,Greek Relief) all depict a fighting scenario. These works show scenes of war overflowing with battles, heroism, triumph, courage, bravery, loyalty and strength. The works are also created so that there is no space between figures in battle. .u186a6ea283a8d36e6b5798c441724571 , .u186a6ea283a8d36e6b5798c441724571 .postImageUrl , .u186a6ea283a8d36e6b5798c441724571 .centered-text-area { min-height: 80px; position: relative; } .u186a6ea283a8d36e6b5798c441724571 , .u186a6ea283a8d36e6b5798c441724571:hover , .u186a6ea283a8d36e6b5798c441724571:visited , .u186a6ea283a8d36e6b5798c441724571:active { border:0!important; } .u186a6ea283a8d36e6b5798c441724571 .clearfix:after { content: ""; display: table; clear: both; } .u186a6ea283a8d36e6b5798c441724571 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u186a6ea283a8d36e6b5798c441724571:active , .u186a6ea283a8d36e6b5798c441724571:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u186a6ea283a8d36e6b5798c441724571 .centered-text-area { width: 100%; position: relative ; } .u186a6ea283a8d36e6b5798c441724571 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u186a6ea283a8d36e6b5798c441724571 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u186a6ea283a8d36e6b5798c441724571 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u186a6ea283a8d36e6b5798c441724571:hover .ctaButton { background-color: #34495E!important; } .u186a6ea283a8d36e6b5798c441724571 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u186a6ea283a8d36e6b5798c441724571 .u186a6ea283a8d36e6b5798c441724571-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u186a6ea283a8d36e6b5798c441724571:after { content: ""; display: block; clear: both; } READ: Old is GOld Sample Essay This gives the viewer a feeling of extreme discomfort, confusion and chaos. With this at hand, the viewer gets an idea of what the Greco-Roman depiction of war was like. Many of the figures are shown with swords killing and trampling the enemy. They often have the leader of the battle in the front and sometimes on a horse. This type of depiction shows the greatness of the leaders and warriors. Usually influenced by gods they went into battle ! without fear or self-interest. They were very powerful men and highly revered by their cultures. Obviously, these ancient works have influenced contemporary art. One can see in almost any type of art depicting a battle, principles used that came from the Greco-Roman cultures. While modern, works depicting war still show the leader of the army up front and almost always on a horse and the groundmen selflessly and bravely going into battle, many to their utter demise. Also seen is the same mayhem by filling the space up with chaotic battling and dying men everywhere. The work entitled Camilla and the Centaur(1484,Botticelli) is a depiction of a woman with an axe petting a centaur. While the theme of beauty was played upon, other themes came into the picture. It shows a woman of compassion, yet at the same time a woman with power and strength. Botticelli perhaps admired these traits in a woman and so created a work of art from it. In his time and in more modern times this depiction of women is unfortunately not often seen, but it still exists. Anyone can see a painting of Queen Elizabeth and see the same features of strength and power. This Greco-Roman influence is seen even today in portraits of Princess Diana or Mrs. Clinton. The Greco-Roman legacy of women with these features is seen in the admiration and adulation of these types of women in art throughout time. Another of Botticellis works, entitled Primavera, done in 1482 is yet another depiction of women of the Greco-Roman era. The work exhibits women in the woods dancing, with transparent clothing showing their body. There is a cupid on the top and the background is very natural and bright. This work gives the viewer the feeling of the beauty of the body, as seen in almost any female depiction, the harmony of nature with humans, love, kindness, innocence, virginity and purity. This gives the viewer yet another idea of how women were seen in the Greco-Roman era. Obviously, the virtuousness of the woman with nature can be seen in many contemporary works, such as this Botticelli, and also modern works. While most people today may link nude women to pornography there are artists that can still redefine and capture the virtuous essence of a woman with nature. These works and previous works are all influenced by the Greco-Roman cultures view of women. Botticellis The Birth of Venus(1484-86) and Titians Venus of Urbino(1538) are contemporary works that have been directly influenced by the Greco-Roman cultures depiction of a female goddess. The depiction is of a woman born from nature with a perfect body and extreme beauty. The works give a feeling of how the Greco-Roman cultures felt about heavenly apparitions. The beauty of the body is shown through smooth lines and curves and very soft textures. The goddess is a perfect creature. While there is not a following of the myths and legends of the Greeks and the Romans today or very much after their cultures existed, the legacy of a goddess being perfect in every way is shown in many paintings of them throughout history. This can be seen in a poster designed by Andy Warhol in 1984 and a German movie poster for Marlene Deitrich in Blonde Venus in the 1930s. Warhol depicts Venus head, but in four different frames of different colors. .u5cb8a9814ebcae6643967356f29f5222 , .u5cb8a9814ebcae6643967356f29f5222 .postImageUrl , .u5cb8a9814ebcae6643967356f29f5222 .centered-text-area { min-height: 80px; position: relative; } .u5cb8a9814ebcae6643967356f29f5222 , .u5cb8a9814ebcae6643967356f29f5222:hover , .u5cb8a9814ebcae6643967356f29f5222:visited , .u5cb8a9814ebcae6643967356f29f5222:active { border:0!important; } .u5cb8a9814ebcae6643967356f29f5222 .clearfix:after { content: ""; display: table; clear: both; } .u5cb8a9814ebcae6643967356f29f5222 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5cb8a9814ebcae6643967356f29f5222:active , .u5cb8a9814ebcae6643967356f29f5222:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5cb8a9814ebcae6643967356f29f5222 .centered-text-area { width: 100%; position: relative ; } .u5cb8a9814ebcae6643967356f29f5222 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5cb8a9814ebcae6643967356f29f5222 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5cb8a9814ebcae6643967356f29f5222 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5cb8a9814ebcae6643967356f29f5222:hover .ctaButton { background-color: #34495E!important; } .u5cb8a9814ebcae6643967356f29f5222 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5cb8a9814ebcae6643967356f29f5222 .u5cb8a9814ebcae6643967356f29f5222-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5cb8a9814ebcae6643967356f29f5222:after { content: ""; display: block; clear: both; } READ: An Overview Of Industrialized Building Systems Construction Essay Andy was a very contemporary and very psychedelic artist. By combining the beauty of the goddess with his own vision he maintained her beauty and brought it to a new modern level. The movie poster shows a beautiful blonde woman with a see through top-something Venus might even wear. This poster was created in a time when Germany was beginning to increase its patriotism and bring itself to believe that it was the best and only country and race. This poster uses the beauty of Venus to help them with certain propaganda during that time. The influence is obvious. The beauty and perfection of a goddess has a profound impact on whoever may see it. These modern artists used that influence to try to benefit or promote something. Finally, the painting of Odalisque by Ingres in 1814 is also heavily influenced by the Greco-Roman cultures. His use of line, texture, contour of the body, physique, and color all related directly to these cultures view of the women. The Guerilla Girls, a bus poster made in the 1980s, is the same as the Odalisque, except a guerilla head is on the body. This poster was making a point on art. That is, why are most works of art of nude women? As can be seen here the influence is somewhat hidden, but it is still there, and used to make a social point. These particular works of art and countless others all delve into the Greco-Roman cultures psyche. Their legacy of myths, legends and especially their lifestyles, which were based on these myths and legends, has generated priceless and timeless works of art. The themes they used were used throughout the history of Western Art, all the way up to the present, and definitely beyond. As a matter of fact, there may be no escaping the influence these cultures had on art. Although an artist may think s/he has created something new, the fundamental themes seen in the Greco-Roman arts, are still being played upon to create that art.