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U S1L6 100208 Spod101 PDF
U S1L6 100208 Spod101 PDF
Upper Intermediate S1 #6
Es cuestin de intelecto
CONTENTS
2 Formal Spanish
3 English
5 Informal Spanish
7 English
9 Vocabulary
10 Sample Sentences
11 Grammar
12 Cultural Insight
# 6
COPYRIGHT 2013 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED.
FORMAL SPANISH
1. JORGE: Luisa, cunteme cul fue el tema que expuso el profesor mexicano
en su ltima clase.
2. LUISA: A ver, djeme pensar... trat acerca de la literatura del Siglo de Oro
espaol.
5. JORGE: Por qu?Qu locura! No hay nada mejor que el Siglo de Oro
espaol. Aparte de Quevedo, tienes a Lope, a Caldern, a Rojas, y
qu decir de Gngora! Qu maravilla la correspondencia del
idioma y el concepto! No sabra decirle quin me gusta ms.
8. LUISA: Oiga, de qu habla usted? Acaso cree que todos tenemos que
pensar como usted.... pasado de moda!
CONT'D OVER
12. LUISA: No me pico, viejo, pero le voy a decir por qu prefiero a los
modernistas.
14. LUISA: Para m el poeta debe escribir para el pueblo al que pertence y
hablar de sus propios temas, expresar conceptos no solo
inteligentes sino intelegibles; en fin, que sus lectores lo reconozcan
como un miembro igual a ellos, perteneciente al pueblo.
17. JORGE: A todos, muchacha, a todos. Para opinar tengo que saber de qu
hablo.
20. LUISA: Jajaja.... Por supuesto. Gracias por haber descendido desde su
torre hasta el pueblo.
ENGLISH
CONT'D OVER
2. LUISA: Umm, let me think... it was about the Golden Age literature of Spain.
3. JORGE: The Golden Age of Spain... how wonderful! It is a topic that I'm
passionate about, above all the poetry of Quevedo.
5. JORGE: Why? What madness! There's nothing better than the Spanish
Golden Age. Aside from Quevedo, you have got Lope, Caldern,
Rojas, not to mention Gngora! What a wonderful correspondence
of language and concept. I would not even know what to tell you, as
to who I like the most.
6. LUISA: Well, Jorgito, I think we ought to swap courses I will take yours, and
you, mine. The thing is that it's tough for me, I mean, I get bored.
And it's not even the professor. I think that it's me who doesn't fit in
that period. I don't know... I ask myself what does such an
ostentatious style of a poetry written in a language that's not even
spoken today have to do with me?
7. JORGE: Now there, Luchita, I see that that is as far as you can go.
8. LUISA: Hey, what are you talking about? Perhaps you think that we all
need to think like you... out of style!
CONT'D OVER
12. LUISA: I'm not hypersensitive, old man, but I am going to tell you why I
prefer the Modernists.
13. JORGE: Well, let's see what you have got. I am listening, doll...
14. LUISA: For me, the poet should write for the people to whom he or she
belongs and should speak about his or her own topics, he or she
should express concepts that are not only intelligent, but also
intelligible; in the end, his or her readers ought to be able to
recognize him or her as a member, equal to them, belonging to the
people.
15. JORGE: Hey there, comrade, you have read too much Marx.
16. LUISA: And you, know-it-all, which modernist have you read?
17. JORGE: All of them, honey, all of them. To give my opinion, I have got to
know what I'm talking about.
19. JORGE: How about for next time. I have got a meeting now.
20. LUISA: Hahaha.... Of course. Thank you for having descended from your
tower to the town folk.
INFORMAL SPANISH
CONT'D OVER
2. LUISA: A ver, djame pensar... trat acerca de la literatura del Siglo de Oro
espaol.
5. JORGE: Por qu?Qu locura! No hay nada mejor que el Siglo de Oro
espaol. Aparte de Quevedo, tienes a Lope, a Caldern, a Rojas, y
qu decir de Gngora! Qu maravilla la correspondencia del
idioma y el concepto! No sabra decirte quin me gusta ms.
8. LUISA: Oye, de qu hablas? Acaso crees que todos tenemos que pensar
como t... pasado de moda!
CONT'D OVER
12. LUISA: No me pico, viejo, pero te voy a decir por qu prefiero a los
modernistas.
14. LUISA: Para m el poeta debe escribir para el pueblo al que pertence y
hablar de sus propios temas, expresar conceptos no solo
inteligentes sino intelegibles; en fin, que sus lectores lo reconozcan
como un miembro igual a ellos, perteneciente al pueblo.
17. JORGE: A todos, muchacha, a todos. Para opinar tengo que saber de qu
hablo.
19. JORGE: Qu te parece para la prxima? Es que tengo una cita ahora.
20. LUISA: Jajaja.... Por supuesto. Gracias por haber descendido desde tu
torre hasta el pueblo.
ENGLISH
1. JORGE: Tell me, Luisa, what topic did the Mexican professor talk about in
his last class.
CONT'D OVER
3. JORGE: The Golden Age of Spain... how wonderful! It's a topic that I'm
passionate about, above all the poetry of Quevedo.
5. JORGE: Why? What madness! There's nothing better than the Spanish
Golden Age. Aside from Quevedo, you've got Lope, Caldern,
Rojas, not to mention Gngora! What a wonderful correspondence
of language and concept. I wouldn't even know what to tell you, as
to who I like the most.
6. LUISA: Well, Jorgito, I think we ought to swap courses I'll take yours, and
you, mine. The thing is that it's tough for me, I mean, I get bored.
And it's not even the professor. I think that it's me who doesn't fit in
that period. I don't know... I ask myself what does such an
ostentatious style of a poetry written in a language that's not even
spoken today have to do with me?
7. JORGE: Now there, Luchita, I see that that's as far as you can go.
8. LUISA: Hey, what are you talking about? Perhaps you think that we all
need to think like you... out of style!
CONT'D OVER
13. JORGE: Well, let's see what you've got. I'm listening, doll...
14. LUISA: For me, the poet should write for the people to whom he or she
belongs and should speak about his or her own topics, he or she
should express concepts that are not only intelligent, but also
intelligible; in the end, his or her readers ought to be able to
recognize him or her as a member, equal to them, belonging to the
people.
15. JORGE: Hey there, comrade, you've read too much Marx.
16. LUISA: And you, know-it-all, which modernist have you read?
17. JORGE: All of them, honey, all of them. To give my opinion, I've got to know
what I'm talking about.
19. JORGE: How about for next time. I've got a meeting now.
20. LUISA: Hahaha.... Of course. Thanks for having descended from your tower
to the town folk.
VOCABULARY
SAMPLE SENTENCES
GRAMMAR
While the Indicative Mood is characterized by its expressions of fact and affirmation, the
Subjunctive Mood is characterized by its expression of Doubt and Desire. When the
Subjunctive is used in independent propositions, as in the example "que encuentres la
verdad" (may you find the truth), we call this form the Optative Subjunctive. It's used when 1)
the person being addressed to is the one who should fulfill the desire; 2) when we suppose
that it's the will of this person on which the desired thing depends.
While in English, we would usually translate this with the imperative (i.e. 'find the truth!', 'play
well tonight!', etc.), in Spanish the difference is noticeable in meaning and form. Moreover, the
Present Subjunctive is used very often. The modal "may" in English is often associated with
the Present Subjunctive, so even though we may not use it all that often in everyday speech, it
will be useful in our translations for the purpose of understanding the tense and mood that
we're dealing with.
The Present Subjunctive is used in the lesson conversation, not in a subordinate clause, but
to express the desire of the speaker. Note how sarcasm and irony are expressed by the two
speakers through the use of the Optative Subjunctive as they contend each others' points of
view.
"Para m el poeta debe escribir para el pueblo al que pertence y hablar de sus propios temas,
expresar conceptos no solo inteligentes sino intelegibles; en fin, que sus lectores lo
reconozcan como un miembro igual a ellos, perteneciente al pueblo."
(For me, the poet should write for the people to whom he or she belongs and should speak
about his or her own topics, he or she should express concepts that are not only intelligent,
but also intelligible; in the end, his or her readers ought to be able to recognize him or her as
a member, equal to them, belonging to the people.)
CULTURAL INSIGHT
El llamado "Siglo de Oro" espaol fue un movimiento literarrio que floreci en el siglo XIIV.
Es conocido su estilo ostentoso, pero tambin por la manera sensata en la que expresa el
concepto. De hecho, muchos dicen que el conceptualismo es una de las caractersticas
definitivas de dicho movimiento. Adems, los poetas barrocos tuvieron un manejo del
lenguage que hasta hora sigue siendo mayor que los poetas de hoy. No es decir que los
poetas de hoy no saben usar el lenguaje, sino que la poesa de nuestra poca suele usar la
vox populi, es decir, la voz del pueblo, mientras la poesa barroca utiliz un lenguaje florido,
artificial con el fin de expresar la belleza tanto como posible. Poetas como Gngora y Lope
impactaron tanto a sus los que vinieran despus que estos ltimos imitaron sus poemas. Ni
fue un secreto. La prctica de imitar fue visto como un halago y como un ejercicio de genio.
Adems, el estilo barroco experiment una renovacin durante los aos cincuenta, cuando
surgi el llamado "neobarroco", movimiento que pretendi tomar prestado ciertas tcnicas
literrias del barroco con el fin de desarollar una poesia nueva y a la vez antigua.