Tutor profile: Maggie P.
Escribe un conversacion para expresar tu abilidad para usar vocabulario diversa. El escenario es una fiesta de la cena donde una persona esta cocinando. Utilize los verbos en la forma de presente y use tu conocimiento de vocabulario sobre introducciones, comida, habitaciones diferentes, la familia, las climas y estaciones diferentes, y cual mas que quieres. Incluye cinco personas en tu grupo.
Anna: Hola mujeres! Bienvenidos a mi casa, entren por favor! Jasmine: Hola Anna, este es mi amiga Jana’y. Anna: Hola Jana’y, mucho gusto, conoce me amiga Suzanne. Jana’y: Hola Suzanne Suzanne: Encantado Jasmine: Mucho gusto también. Me encanta tu vestido y los zapatos. Son muy bonitas. Suzanne: Gracias, su collar es bonito! Jasmine: Es de mi esposo, el me da regalos a menudo. Suzanne: Bien, tu casa es enorme, Anna. Cuantas pisos tiene? Anna: Cuatro. Jasmine: Wow, tienes muchas escaleras. Anna: Si, pero tengo un ascensor porque generalmente llevo tacones altos. Jana’y: Que hay en cada piso? Anna: En el piso cuatro hay el dormitorio principal y el baño principal, en el piso tercero hay los cuartos de mis hijos. En el piso segundo hay una cocina, un comedor, y un salón y el piso primero uso para las fiestas. En aquel edificio esta mi piscina y mi gimnasio. Jana’y: Le nos recorrido luego? Anna: Claro que si! Suzanne Me gusta el cuadro, allí. De donde compras? Anna: Pienso que el cuadro es de Italia. Jasmine: Wow. Clara: Hola a todos, lo siento que llego tarde. Suzanne: Hola Clara! Conocen Clara? Anna: Si la conozco. Jana’y: Hola Clara, me llamo Jana’y Clara: Hola Jana’y! Jasmine: Mi nombre es Jasmine, es un placer conocerte. Clara: Y tu también! Anna: Son las seis y media, porque llegas tarde? Suzanne: Si, por que? Clara: Lo siento mucho, mi esposo llega a nos casa tarde a veces, y necesito esperar porque nos hijos no pueden están en la casa solo. Jasmine: No tienes una niñera? Clara: No… Suzanne Clara no tiene una niñera porque ella no puede pagarla. Jana’y: No tengo una niñera también, pero mis padres viven conmigo y les pueden a cuidar a los niños. Jasmine: Anna, no tienes hijos? Anna: Si tengo dos hijas y un hijo. Las niñas son ocho y seis y mi niño es tres. Clara: Bueno pero donde están? Anna: Cuando están enfermos, yo envío mis hijos a la casa de mi hermano y mi hermanastra. Suzanne Que le pasa con tus hijos? Anna: Tienen Dolores de las gargantas y fiebres, probablemente tienen el gripe. Jasmine: Me alegre que no están aquí. Jana’y: Yo también. Clara: Creo que es triste… Suzanne: Si, no me gusta el invierno. Clara: Yo también, mi estación favorita es verano. Me gusta pasear mi perro en el parque y me gusta ser afuera. Suzanne: Me gusta el verano también porque me gusta caminar por la playa. Cuales tu estación favorita, Jasmine? Jasmine: Me gusta el verano también porque se pueden comprar y usar vestidos y trajes de baño. Jana’y: Me gusta la primavera por que yo visito mi familia durante la Pascua de Resurrección. Anna: Me gusta otoño porque me encanta ver los colores variados de los árboles. Clara: Hace mucho frío y viento afuera, no estoy sorprendido que tus hijos están enfermos. Espero sus hijos están tomando medicamentos. No me gusta cuando mis hijos están enfermos. Conoces al doctor Ballesteros? Anna: Si lo conozco pero no se de donde es. Clara: O, su oficina está cerca de donde vivo. Jana’y: De donde vives? Clara: Yo soy de Maryland, y tu? Jana’y: Soy de Maryland también, vivo en Baltimore. Suzanne: Vives en Baltimore? Yo soy de Severna Park, que esta cerca de Baltimore. Jana’y: Si esta muy cerca. Anna: Jasmine, vives en Baltimore también, si? Jasmine: Sí, así es como conocí a Jana’y. Clara, en Maryland, donde vive usted? Clara: Yo vivo en Hereford en el norte de Baltimore. Jana’y: No es la ciudad. Anna: Mujeres, vamos a la cocina para comprobar la comida. Suzanne: Su chef esta cocinando? Anna: No, estoy cocinando esta noche. Jasmine: O no! Clara: Huelo el humo, ¿qué estás cocinando? Anna: No lo huelo! Estoy cocinando pollo. Clara: Nosotros debemos verlo! Jasmine: Sí, es probablemente esta quemando. Anna: Ay dios mío! El pollo esta quemando! Clara tu cocinas si? Que vamos a hacer? Clara: Debemos tirar a la basura y debemos pedir la comida rápida. Jana’y: Comida rápida? Suzanne: Yo no como comida rápida. Clara: Que desean comer? Suzanne: Me gustaría le carne de res y las papas para el plato principal, para el postre me gustaría la flan. Clara: Y ustedes? Jasmine: Me gusta comida italiana, como la pasta Jana’y: Me gusta los mariscos. Me gusta una langosta, unos cangrejos y camarones. Anna: Solamente quiero caviar! Clara: No podemos pedir para llevar. ¿Te gustan las hamburguesas o pizza? Las hamburguesas son como la carne, y la pizza es italiana! O podemos pedir comida china! Jasmine: Me gusta la comida china mucho! Suzanne: Yo también Clara: Bien, vamos a pedir comida china. Anna: no se… Jana’y: Yo ni. Clara: OK, pero necesitamos comer… Anna: Si vale, voy a probarla. Suzanne: Que vas a hacer este fin de semana, Jana’y? Jana’y: El sábado mi esposo y yo voy a ir de compras, y tu? Suzanne: Yo voy a la peluquería a mediodía. Que vas a hacer este fin de semana, Clara? Clara: Voy a ir al parque con mis hijos y luego voy a cocinar la cena para mis hijos y mi esposo. Jasmine: Bueno, voy a tomar un paseo en mi yate a Las Bahamas. Anna: Puedo acompañarte? Jasmine: No.
Consider the character of Ukifune, in The Tale of Genji. What makes her character different than all of the other female characters in the novel thus far? What about her character makes her an ideal option on which Murasaki, the author, can pin the ending of the tale? How does her character put Genji's character in sharp relief through the comparison of his successors?
Ukifune is the character that Murasaki Shikibu tries to focus the readers’ attention on most in the Tale of Genji after the death of Genji and as she moves the reader into the Uji Quires. Genji has been the main force connecting all of the characters up until this point, but during this section of the book Ukifune seems to be the connecting character: the string that links the pearls. Niou and Kaoru are the two male characters directing the tale in this part of the novel and although they do have separate love lives, their main concerns link them to the daughters of the Eighth Prince and this narrows again to a focus entirely on Ukifune. Even while she is thought dead these two characters are concerned with trying to find a substitute for her. There are several reasons why Murasaki seems to want the readers’ attention to be focused on Ukifune but one of the biggest reasons, that comes to light only near the very end of the book, is that Ukifune is able to achieve something that none of the other characters have been able to fulfill in their lives thus far: to successfully become a nun and turn away from the world. The ability to leave and focus on one’s spirituality is something that every character in the novel, including Genji and Kaoru, wishes to achieve but never does. Kaoru’s mother does become a nun but this came about under very different circumstances and so is not comparable. Ukifune is the only character that attempted a violent suicide, the other suicides being slow deaths from intentional starvation, thus exhibiting her strength of will. Her first attempt to resist the unhappiness brought on by the competing Kaoru and Niou was this suicide attempt; however because of her failure, she goes on to achieve the only other way of successfully taking herself from the world. Thus it is appropriate that Murasaki has Ukifune, one of the female characters who is strongest in withstanding temptation, become a nun. The fact that Ukifune cannot be acquired by either Kaoru or Niou also lends credibility to the character of Genji; when he was alive he was the most balanced male character and if he had wanted Ukifune, there is reason to believe he would have been able to bring her to his lodgings and in a way that did not make his other ladies too uncomfortable. By having Ukifune play the role of unattainable it sets Niou and Kaoru in sharp relief to Genji and makes the shortcomings of these later generations more apparent. Niou and Kaoru seem to be two parts of Genji’s personality, desire versus religion, and because the two characters are not able to maintain a balance and exhibit either one extreme or the other, they are unable to make claim to even a lady so far below their ranks. The reader saw these extreme characteristics in Niou and Kaoru when they were going after Oigimi and Nakanokimi, however the fullness of their failures is not entirely understood until they are competing for Ukifune, because it is this woman who they drive away completely. This contrast between the later generations and Genji also speaks to an idea that the younger generations are heading toward a disintegration of society. Murasaki’s ending of the novel, with Ukifune taking vows and Kaoru realizing she will no longer be a part of his life, does several things in regard to Ukifune’s character. First it allows the reader to see a character achieve the final and most important goal in all of the lives of the characters: disengaging oneself from the world. It also allows Murasaki to make a subtle comment about society by showing that the only option left for Ukifune to live happily is to turn away from the world: there is no balance left between love, desire, and religion and so she must take herself out of such a society. Thematically Murasaki is ending a repetitious cycle. Repetition and resemblance are common themes throughout the novel, but by having the girl become a nun she ends the love triangle between Niou, Kaoru, and Ukifune. It is really the only option left to Murasaki, other than the death of Ukifune, because if Niou and Kaoru found out she was still alive but not a nun, the competition would have continued. The last thing Murasaki does by ending her novel with Kaoru thinking about Ukifune is leave the reader with a fleeting sense of sadness, a feeling of wistfulness that is almost hard to pinpoint. By allowing the most important character at this point to leave the world, Murasaki is leaving room for her audience to think about the ties between desire and religion and what it means to fully attain disengagement from the world.
Consider the work of Frankenstein, by Mary Shelley, in terms of an environmental message. In what ways might you link this work to a film such as Al Gore's, An Inconvenient Truth, thus making it accessible to a current day audience and reworking it in a way that brings a new message to light? Does it have a personal message for you? How can the characters in the work be exemplars of the potentialities Gore's film lays out?
Mary Shelley’s Frankenstein is a story that still has a valuable message for today’s generation, although it comes from an unexpected source. Anthropogenic climate change can be linked to Victor’s creation of the monster and Al Gore’s film, An Inconvenient Truth, demonstrating this with many examples of the effects of human interference in the natural world. Through the burning of fossil fuels humans may have created a monster that, if neglected as in Shelley’s story, could lead to chaos and irreparable damage. When Victor began creating his monster in the novel, his intentions were not necessarily at fault. He believed that his work would aid in the progression of mankind and that his experiment would ultimately be an advancement. “Life and death seemed to me ideal bounds, which I should first break through, and pour light into our dark world. A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me” (33). Through this passage it is obvious that Victor had no ill intentions for his creation, and even considered his work a precursor in which to light the way for future developments. This stage is one that is similar to the time when the train, the car, the plane, and etcetera were being created as an advancement of mankind—through the progress in transportation, man had only good intentions and did not consider that the fuel source used for these modes of transport might one day prove to be disastrous. In his movie, Gore shows the results of the fossil fuels burned in the world and how something thought to be an improvement might in the end become something entirely uncontrollable. One of the key issues in the novel is the fact that Victor refuses to take responsibility for his creation, even to the very end of his life saying, “During these last days I have been occupied in examining my past conduct; nor do I find it blameable” (156). This issue is also one that is being faced today in regard to pollution and carbon emissions. When people do not hold themselves accountable for their part in the growing monster that is global warming, as exemplified through the novel, it will only become more destructive. What we can learn from Shelley’s story, as humans, is that taking responsibility for something and devising a way to improve on a mistake already made can lead to a change in the ultimate outcome. If Victor had brought the monster into his home and taught him to be a functioning part of society, he may never have had to deal with the deaths of his loved ones or other members of the populace. Realizing the ability to do something is another point Gore touched on in his dialogue. He claimed that often people go from realizing there is an issue to utter despair and a giving up without any middle stage. Thankfully Gore had recommendations about how to take the situation into hand and repair not only current damage, but possible future damage as well. I would liken this to taking the monster into our homes: we must take the issue of global warming into our homes and recycle our waste, find renewable and clean energy sources, carbon capture sequestration, and reduction for our carbon footprints through passenger vehicle efficiency or by using alternative transportation when possible, such as biking. Victor’s creation is something more complex than he first assumed and it gets quickly out of hand when he does not pay attention to the life of the being he created. This is a story similar to that of the coal and oil industries; it was not originally considered that the burning of fossil fuels would become something too complex to manage and that meddling in nature by extracting these fuels could create large amounts of CO2. The CO2 would then, in turn, heat the earth melting glaciers, raising water levels, escalating the spread of disease, and increasing the size and severity of tropical storms. Just as the monster began taking lives, so has our very own monster, through storms of unmatched proportion such as Hurricane Katrina (an event that Gore touched on in his documentary). The monster first took the life of Victor’s brother, William, “I grasped his throat to silence him, and in a moment he lay dead at my feet,” but he then goes on to kill three more people before indirectly killing Victor himself (100). The issue of global warming also causes death in many forms, a few that Gore named being droughts because of greater amounts of evaporation such as in Africa, flooding caused by storms such as in New Orleans, and eventually to the increase of water levels up to twenty feet which may cause deaths in cities such as New York, Miami, San Francisco, Shanghai, and Beijing, just to name a few. The end of Shelley’s novel could be used as a warning about future possibilities if a change is not made. The question is, would we like to end up like Walton, who stepped away from his ambitions when he realized the danger to his community of seamen, or would we like to be like Victor who dies after the deaths of all of his loved ones because he could not hold him self accountable for his creation. “I cannot lead them unwillingly to danger, and I must return,” said Walton of his crew, realizing that it was his responsibility to keep his crew safe (156). Walton’s acceptance of reality leads to his salvation whereas the route Victor chose led to his destruction. Shelley lays out two choices for us and Gore also does this in his film by using graphs and charts to show what will happen if we choose the monstrous route and do not implement methods to adjust our emanation of CO2. We are luckier than Victor, however, because we have a man who has laid out the consequences of our actions if we continue on the trajectory we have begun. If we attempt to work with our monster, the cities that will eventually be under water, the storms that could occur, the drought and displacement of vital water sources, could be avoided. Shelley’s is something I have begun to personally associate with natural disasters that, when looked at more closely, do not appear to be so natural. There have been an accumulation of things occurring in America that, when looked at from a broader perspective, appear to produce somewhat of a pattern. There have been oil spills, such as the one off the gulf coast, forest fires in Colorado, great hurricanes that have destroyed not only cities but the wildlife around them as well, and now fracking in Oklahoma, thought to have caused the recent earthquake there. When looking at the accumulation of uncontrollable events it is not hard to imagine that the things humans are doing to the earth is a major cause of its destruction. Like Victor Frankenstein, humans have begun meddling in certain natural processes that would be better left alone, and like Victor, these so-called advancements could lead to a thing we never wished. Although Al Gore, as the leader of this movement, has sold his company to Al-Jazeera, it does not mean the push for better global situations has to end. Al-Jazeera is a company owned by the Qatar foundation, a foundation based on the production of oil and the burning of fossil fuels, which is the major cause of global warming. In this case Gore may be more like Victor by renouncing his responsibility in the creation of the monster, however his former role as the leader in the advancement of global warming awareness is still significant. Although some may doubt his sincerity because aided in the advancement of oil production for money, the bigger picture still remains which has more to do with the management of the monster than with the man who headed the movement. Works Cited An inconvenient truth. Dir. Albert Gore. Perf. Albert Gore. Paramount, 2006. Film. Kurtz, Howard. "Why Al Gore's Al Jazeera deal doesn't seem right - CNN.com." CNN.com - Breaking News, U.S., World, Weather, Entertainment & Video News. N.p., 7 Jan. 2013. Web. 6 May 2013. <http://www.cnn.com/2013/01/07/opinion/kurtz-gore-al-jazeera>. Shelley, Mary Wollstonecraft, and J. Paul Hunter. Frankenstein: the 1818 text, contexts, nineteenth-century responses, modern criticism. 2nd Edition ed. New York: W.W. Norton, 1996. Print.
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