Cindy Sherman Artist Biography

Cindy Sherman Artist Biography No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Shermans photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970s. It has been said that, The bulk of her workà ¢Ã¢â€š ¬Ã‚ ¦has been constructed as a theater of femininity as it is formed and informed by mass culture (her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections (Sobieszek 229). Born in Glen Ridge, New Jersey, Cindy Sherman grew up in suburban Huntington Beach on Long Island, the youngest of five children and had a regular American childhood. She was very self-involved, found of costumes, and given to spending hours at the mirror, playing with makeup (Schjeldahl 7). Cindy Sherman attended the state University College at Buffalo, New York, where she first started to create art in the medium of painting. During her college years, she painted self-portraits and realistic copies of images that she saw in photographs and magazines. Yet, she became less, and less interested in painting and became increasingly interested in conceptual, minimal, performance, body art, and film alternatives (Sherman 5). Shermans very first introductory photography class in college was a complete failure for she had difficulties with the technological aspects of making a print. After her disastrous first attempt in photography, Sherman discovered Contemporary Art, which had a profound and lasting effect on the rest of her artistic career (Thames and Hudson 1). Shermans first assignment in her photography class was to photograph something which gave her a problem, thus, Sherman chose to photograph her self naked. While this was difficult, she learned that having an idea was the most important factor in creating her art, not so much the technique that she used. While she was talented at copying with pencils and paints, this artistic method would not allow Sherman to express herself personally. But with a camera, Sherman could use her body as a tool (Sills 64). The young artist became fascinated by the way any image at all, simply being presented, activates a mysterious charge-neither subjective nor objective, but of both (Schjeldahl 7). In college, Sherman became active in the local avant-garde scene, the liveliest of two decades, and especially in Hallwalls, an artist-run alternative exhibition space (Heller 223). In 1975, while still attending college, Cindy She rman created her first series of five photographs entitled, Untitled A-E. Within these first photographs, Sherman attempts to alter her face with makeup and hats, attempting to take on different personas, such as a little girl in Untitled D, and a clown in Untitled A (Thames and Hudson 2). This first series is Shermans first attempt of documenting transformation. The Curator Linda Cathcart, saw the pictures at Hallwalls and put them at the Albright Knox Art Gallery (Heller 225). Because Sherman had such vivid imagination and became fascinated with self-transformation, Sherman often bought vintage clothes and accessories from thrift stores, which helped her to form and create different characters. So it just grew and grew until I was buying and collecting more and more of these things, and suddenly the characters came together just because I had so much of the detritus from them (Thames and Hudson 2 ). Sherman went even as far as wearing the costumes and dressing as different charact ers to gallery openings and events in Buffalo. She wore these costumes because she wanted to see how far she how transformed she could look (Haller 225). Yet, Sherman never considered dressing up for performance purposes because she was not maintaining a character but simply getting dressed up to go out (Thames and Hudson 2). Cindy Sherman began her famous series of Untitled Film Series at the end of 1977. The small black and white photographs are of Sherman impersonating female character types from old B grade movies, which speak to a generation of baby boomer women who had grown up absorbing these glamorous images ay home on their televisions, taking such portrayals as cues for their future (Thames and Hudson 1). Upon graduation of college in 1977, Cindy Sherman and her fellow student Robert Longo moved to Manhattan, New York together. She continued with her interest in role-playing and dressing up as different characters, and began to photograph herself in these different guises among different locations such as her apartment Untitled Film Still #10, in the Southwest in Untitled Film Still #43, and in Long Island in Untitled Film Still # 9. Shermans manipulation of lighting, makeup, and dress make it difficult to believe that all of the characters represented were indeed the same person (Heller 225). A ll of the portraits are of her but none of the works are in any way a self-portrait of Sherman. They are portraits of an identity that Sherman shares with every female who thinks of her life in the way of a cheap movie. For this reason alone, is why her work has been looked at for special by feminist who hold the view that women do not hold theories, but tell stories. In the stills it is important to get a deep and true understanding that her use of photography is more integral to the performance then a photographic record of what took place. (Danto 10-11). Each of the stills is about the girl in trouble, but in the aggregate they touch the myth we each carry out of childhood, of danger, love, and security that defines the human condition. Desire mixed with nostalgia fuels the allure of the Untitled Film Stills-desire for the woman depicted as well as desire to be that woman, during that time (Thames and Hudson 4). Sherman said that the last thing she wanted her pictures to have was emotion. The still only provided a framework through which her deeper artistic impulses found expression (Danto 9). She was most interested in what a character was like when they were completely emotionless (Sherman 8). These black and white photographs were purposely grainy because Sherman wanted them to look like cheap publicity shots. While, Sherman takes most of her own photographs using a remote shutter-release, some of her pictures are also taken by her family and friends. This Untitled Film Series was first exhibited in 1995, in the Hirshborn Museum of Washington D.C. In each of the photographs, Sherman is depicted alone, As a familiar but unidentifiable film heroine in an appropriate setting (Thames and Hudson 2). Some of the many characters depicted are of a perky B-movie librarian in Untitled Film Still #13; a voluptuous lower-class women from an Italian neo-realist film in Untitled Film still #35; and a young secretary in the city Untitled Film Still # 21 (Thames and Hud son 2). In terms of the untitled film still #35 and Untitled Film still #15, both depict Sherman as a seductress, Sherman says To pick a character like that was about my own ambivalence about sexuality-growing up with the woman role models that I had, and a lot of them in films, that were like that character, and yet you were supposed to be a good girl (Thames and Hudson 2). Sherman encourages the viewers participation in constructing their own narratives of her Untitled Film Still #10, Untitled Film Still # 14, and Untitled Film Still #65 (Thames and Hudson 3) Sherman created sixty-nine photographs in total, presenting her works in an array of types. According to Judith Williamson, force upon the viewers that elision of image and identity which women experience all the timeà ¢Ã¢â€š ¬Ã‚ ¦ (Thames and Hudson 3). Cindy Shermans Untitled Film Stills are also seen as related to feminist performance work of the 1970s by artists such as Adrian Piper and Eleanor Antin. Sherman is also noted as being heavily influenced by these artists. The Untitled Film Series are not only photographic records of performance but performative accounts of filmic images (Thames and Hudson 4). Sherman ended her sixty-nine photograph scenes in 1980, when she began to realize that she was duplicating previously used characters, clichà ©s, and stereotypes. Cindy Shermans next series or collection of photographs was her first working color called the Rear Screen Projections, which exude the artifice of a television show. With her increasing desire to work at home, Sherman created her photographs in front of a projected screen, which she projected slides of outdoor and indoor scenes. Viewing the photographs one can obviously tell that the background is fake. The very realistic and sometimes quite closely cropped images of Sherman contrast with the blurry and substantial settings, heightening the artifice of the entire scene (Thames and Hudson 5). Her second series concentrates on the 1960s and 1970s rather then the 1950s depicted in the Untitled Film Series. Rather then female victims, the Rear Screen Projections depict women who are confident and independent, usually youthful, middle-class women in the real world. The characters of the Rear Screen Projections are best identified as being counterparts of women in the media of the 1970s s uch as Mary Richards character in The Mary Tyler Moore television series (Thames and Hudson 5). In 1981, after creating a portfolio of images for an issue of Artforum, Sherman became inspired by the magazines horizontal format and produced a series of works that refer to the photo spreads in photographic magazines. This is said to be Shermans first mature work. These large photographs are in color, are cropped and close-up with each image depicting a young woman looking off to the side with a vacant and vulnerable look. She keeps background details to a minimum allowing the attention to be drawn to the figure. Shermans horizontals suggest a profound transgression against form. Within these pictures have there is no coherent point of view (Sobieszek, 25). When Sherman showed this series, she was criticized by some for having created women that reaffirm sexist stereotypes, therefore Artforum rejecting this series. Critics have found Untitled #93 as the most suggestive of all her works. This photograph shows a woman with messy hair and smudged makeup in bed covering her eyes, whil e looking toward the light that shines in her eyes. Although Sherman has stated that She was imagining someone who had just come home in the early morning from being out partying all night, and the sun wakes her shortly after she has gone to bed (Thames and Hudson 6). Critics on the other hand have read this photograph as a rape portrayal. Misreading of the centerfolds became very common because people tried to create stories from them, discovering hidden meanings where none were present (Schjeldahl 9). Much like her earlier works, the centerfolds mimic and repeat mass media modes. In the Pink Robe series, Sherman uses herself once again to imitate the stance of porno models, choosing to pose only in a pink chenille bathrobe. This series conveys a state of loveless intimacy, intimacy without understanding or personal tenderness (Schjeldahl 10). In this series, Sherman responds to the criticism of the centerfold series, and switches to a vertical format in order to do away with the vulnerability of the characters. Yet, the Pink Robe Series is just a continuation of the Centerfold series because Sherman thinks of these images as depiction of the porno model during breaks between posing for nude shots (Thames and Hudson 7). Sherman sits in front of the camera deciding to appear as un-sexy and without makeup or wigs, staring directly toward the viewer. Many critics interpret this series as the real Cindy and most revealing of all of her photographs (Thames and Hudson 7). Sherman has produced four groups of works that quote from fashion photography. In Shermans fashion series, she reminds the viewer that that fashion allows us to create and display a wide range of appearances as if we each possessed a wide range of identities (Sobieszek, 253). Her first fashion series was commissioned in 1983 for a spread in Interview magazine. Provided with designer clothes such as Jean-Paul Gaultier, Sherman undoubtedly provided an antithesis of a glamour ads. The models look silly but utterly delighted in their high fashion frocks. Her second commissioned fashion photographs are even more bizarre from the previous works, with the models looking dejected in Untitled #137, exaggeratedly wrinkled in Untitled #132, and even homicidal in Untitled #138. It appears inevitable that Sherman would be drawn to fashion spreads because fashion is yet another means of masquerade for women, and ads for clothing promise to convert the buyer into a more perfect version of herself ( Thames and Hudson 8). Like all advertisements, fashion photographs manufacture a desire in a woman that could never be filled. Sherman uses her fashion photographs to undermine the desirability of such images by emphasizing their manipulating nature (Thames and Hudson 8). In the fairy tales and monster series, Sherman reminds us of the monsters from childhood memories and may be suggesting through these photographs that everyone harbors a secret, repressed self that can shift form and shape at will (Sobieszek, 253). The undercurrent turned, rather startling in the 1980s into a torrent of gore and rage when she switched to using a larger format and often lurid colors, and to concocting increasingly horrific and surreal images (Kimmelman 142). These images represent a time in her career when her images truly become strange and surreal. These photographs are unusual not only because of their horrific images, but also because a viewer is unaccustomed to seeing such stories represented in photographs. The strangest scene appears in Untitled #150, In which an androgyn with a huge, extended tongue fills the foreground, and tiny figures stand in the landscape behind it, making it seem like a giant among Lilliputians (Thames and Hudson 9). Shermans Fairy Tales do not depict a specific example, but evoke a narrative form. By the early 1990s Sherman had tired of creating these shocking images turning to art history for inspiration. The result was a series of photographic portraits of her returning as the model, transformed by her usual false noses, bosoms, into both male and female figures as painted by various old masters of Western painting (Heller 225). Even when Sherman was creating history portraits she worked out of books, with reproduction, she says that Its the aspect of photography that I appreciate, conceptually: the idea that images can be reproduced and seen anytime, anywhere, by anyone ( Kimmelman 145). Just like all the rest of her works, the history paintings do not depict a particular painting but depicts types for the history genre. Sherman creates the most memorable and humorous pictures of women. Often spoofing the awkward depictions of the female anatomy of the Old Masters paintings. Understanding how ridiculous these history paintings are helps the viewer understand that Sherman is mocking the Western canon and its depiction of royalty and religious figures (Thames and Hudson 12). Shermans next career move was to a raunchy pornographic depiction of individuals called the Sex Pictures. Using mannequins and body parts form medical catalogues, she constructs hybrid dolls. Rather then showing the dolls having sex, Sherman proudly shows the sex. Sherman created these works in response to the controversy over the National Endowment for the arts ands the debates over the constitute obscenity in the arts. Typically, pornography portrays sex as anonymous, but in Shermans series she depicts sex as ridiculous (Thames and Hudson 14). It Shermans work, the notion of self is completely abandoned, replaced by the concept of multiplicity, dissociation, and fluidity. Yet, her portraits do not appear as performances only unstable representations in ambiguous non-narratives making brief appearances, caught in a moment of ambivalent emotional expression (Sobieszek, 253). Much of her work is clearly meant to be ambiguous. Her pictures have been interpreted as feminist indictments of gender stereotyping, but Sherman insists that she is not political (Heller 226). References Danto, Arthur C. Cindy Sherman: Untitled Film Stills. New York: Rizzoli, 1990.. Heller, Nancy G. Women Artists and Illustrated History. New York: Abbeville Press, 1987. Kimmelman, Michael. Portraits. New York: Random House, 1998. Schjeldahl, Peter. Cindy Sherman. New York: Pantheon Books, 1984. Sherman, Cindy. The complete Untitled Film Stills. New York: The museum Of Modern Art, 2003. Sills, Leslie. In Real Life: Six Women Photographers. New York: Holiday House, 2000. Sobieszek, Robert A. Photography and The Human Soul 1850-2000. Los Angles: MIT Press and Los Angles County Museum of Art, 1999 Thames and Hudson. Cindy Sherman Retrospective. Chicago: Museum of Contemporary Art, 1998.

Human Cloning is Wrong :: essays research papers

Is human cloning wrong? Many people over the years and today have been asking themselves that question. In my opinion cloning would be playing God. Since the beginning of time God has devised a good and proper plan to make babies. Why mess with it? The process of cloning scientifically means to genetically copy an organism and create a â€Å"replica† that has the same DNA, whose cells time have been turned back, yet the two are not exactly the same. Over the past decades many cloning experiences had failed. Cloning was first tried in 1938 by a German embryologist, Han Spemann, yet it failed. It was not until 1970 when cloning became possible. The first animals to be cloned were frogs, and over time, cows, pigs, a sheep (only Dolly), and monkeys have been successful. For example, Dolly, born July 5, 1995, was the first mammal to be successfully cloned out of 200 embryos, at Roslin institute in Scotland. The team that created her, led by Scotsman Ian Wilmut, hoped to create an animal whose cells were genetically young again, rather than prematurely adult, but on February14, 2006, six years later after she was born, they had put her to sleep. She was diagnosed with lung disease, however it’s a fairly common disease in sheep, she also had premature arthritis. Nobody knows if her death has anything to do with being cloned. Over 200 sheep failed embryos were thrown away, so if the failure rate was that high when we start to clone humans more than 200 embryos/200 human beings would die for just one embryo that would have the same DNA as someone else†¦ think about it. The ones that may survive may die later, catch infections that’s soon leads to death, or have abnormities and many more Studies shown that 4 outta 12 cow birth mothers died. Just imagine human birth mothers, we would be killing many innocent lives. However the cloning of any species whether they are human or not its morally wrong no matter how beneficial to humanity as it may b e. People should be aware on the negatives of cloning, it’s unethical, very risky, and irreligious...in my eyes just plain wrong. In addition, cloning involves killing a great number of embryos. Therefore, out of many of animals that were cloned, very few have survived and the ones that have cant live on their own and have become dependant on scientists for everything down to oxygen. Human Cloning is Wrong :: essays research papers Is human cloning wrong? Many people over the years and today have been asking themselves that question. In my opinion cloning would be playing God. Since the beginning of time God has devised a good and proper plan to make babies. Why mess with it? The process of cloning scientifically means to genetically copy an organism and create a â€Å"replica† that has the same DNA, whose cells time have been turned back, yet the two are not exactly the same. Over the past decades many cloning experiences had failed. Cloning was first tried in 1938 by a German embryologist, Han Spemann, yet it failed. It was not until 1970 when cloning became possible. The first animals to be cloned were frogs, and over time, cows, pigs, a sheep (only Dolly), and monkeys have been successful. For example, Dolly, born July 5, 1995, was the first mammal to be successfully cloned out of 200 embryos, at Roslin institute in Scotland. The team that created her, led by Scotsman Ian Wilmut, hoped to create an animal whose cells were genetically young again, rather than prematurely adult, but on February14, 2006, six years later after she was born, they had put her to sleep. She was diagnosed with lung disease, however it’s a fairly common disease in sheep, she also had premature arthritis. Nobody knows if her death has anything to do with being cloned. Over 200 sheep failed embryos were thrown away, so if the failure rate was that high when we start to clone humans more than 200 embryos/200 human beings would die for just one embryo that would have the same DNA as someone else†¦ think about it. The ones that may survive may die later, catch infections that’s soon leads to death, or have abnormities and many more Studies shown that 4 outta 12 cow birth mothers died. Just imagine human birth mothers, we would be killing many innocent lives. However the cloning of any species whether they are human or not its morally wrong no matter how beneficial to humanity as it may b e. People should be aware on the negatives of cloning, it’s unethical, very risky, and irreligious...in my eyes just plain wrong. In addition, cloning involves killing a great number of embryos. Therefore, out of many of animals that were cloned, very few have survived and the ones that have cant live on their own and have become dependant on scientists for everything down to oxygen.

An Analysis of The Pearl by John Steinbeck Essay

One of the main themes of the novel, The Pearl, which was written by John Steinbeck, is the destructive force of greed. The author presented this concept in a variety of ways in the story such as the use parallelism of the imagery to the characters in the novel, the setting of the story that justifies the characters’ actions, and the sudden transformation of the characters.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Basically, the story takes place in depressed Mexican-Indian community in La Paz where the novel’s two main characters, Kino, a poor pearl diver, and his wife, Juana, live in. While the story revolves mainly around the life of the couple, particularly, Keno, the author used them to symbolize the impoverished state of the community in which they live in. The story begins with Coyotito being stung by a poisonous scorpion. When Kino and Juana were unable to treat their son, who was shown to be in extreme pain, they took him to a doctor. However, the doctor, upon learning that the couple did not have any money, turns them away and pretended to be unavailable at the moment.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In this part of the story, Steinbeck already showed how greed played an important role in adversely affecting the lives of Kino and Juana through momentarily shifting the focus of characterization. The doctor, who is bound by an oath that compels him to help all those who are sick, regardless of their economic status, refused to treat the couple’s son because he was greedy and did not want to treat them unless he gets paid with money. The doctor also symbolized the obstacles and oppression that Kino faces in their impoverished community, which was, in a way, used to justify his greedy actions later on in the novel. Moreover, the use of nature’s imagery in the first chapter of the novel generally mirrored Kino’s personality. In the opening chapter 1, Kino deeply observes the beauty of the garden of his home, which reflects the innocence he only had at the beginning of the novel.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   After the couple was turned down by the doctor, Kino became desperate but fortunately found a very large and rare pearl in one of his dives. The author used this part of the story as a turning point in Kino’s personality. This part of the story also depicted the greed of the other minor characters of the novel such as the priest of La Paz, who agreed to help Kino only after he discovered that he had the pearl, and the doctor, who changed his mind and helped Kino only after he found out that the fisherman was in possession of a rare pearl.   Moreover, although Kino’s intentions were primarily to buy a cure for his son by selling the pearl, he was blinded by his greed as shown in his desire to sell the pearl only to the highest bidder. Days after he found the pearl, his entire family experienced a lot of misfortunes. Several men attempted to steal the pearl from him and although they were unsuccessful, this led to Kino committing acts he normally did not do such as violence and murder. In addition, Kino’s attitude towards his family suddenly changed which was illustrated when he beat up his wife Juana after she insisted that they get rid of the pearl for fear of the misfortune it will bring them in the future. Even after their house was burned down, Kino still insisted on keeping the pearl and escaped to a nearby the mountain with his family since they believed he will be hunted by the authorities after he killed one of the men of attempted to steal his prized possession. They then discover that they were being pursued by three men and when Kino tried to surprise them, they kill his son, Coyotito. He responded by killing all of them and the next day the story ended with Kino returning to La Paz where he throws the pearl to the sea for good. The events at the mountain were another form of nature imagery used by the author. This time, Steinbeck used the mountain to reflect life’s darker side which is characterized struggles and hardships. In this case, however, it was still Kino’s greed that led to these events. Overall, Steinbeck clearly expresses that man’s desire for excessive property and riches would eventually lead to destruction as portrayed by Kino who lost his son, his house, and his innocence in his greedy desire to sell the pearl and amass wealth. References Steinbeck, J. (2002). The Pearl (Centennial Edition). New York: Penguin

Using Antes and Related Spanish Phrases

Using Antes and Related Spanish Phrases Antes is a common way of saying  before, but it is often necessary to use it in the phrases antes de and antes de que.   How To Use Antes The easiest way to think about the differences between antes by itself and the two phrases is to consider which part of the sentence antes connects with. If it affects the meaning of the entire sentence or of a verb, then its functioning as an adverb and stands alone. Another way of thinking about this, although it doesnt cover all instances, is that  if it makes sense to translate antes as beforehand or earlier (theyre both adverbs) then you should use antes by itself: Antes fuimos a la ciudad. (Earlier, we went to the city.)No lo habà ­a visto antes. (I had not seen it beforehand.)Yo corrà ­a ms antes.  (Earlier, I used to run more.)Antes habà ­a muchos casos de tuberculosis en las zona. (Before, there were many tuberculosis cases in the area.) Antes de (not antes de que), on the other hand, functions like a two-word preposition and connects with a noun that follows (or an infinitive functioning as  a noun): Fue difà ­cil viajar antes de la era industrial.  (It was difficult to travel before the industrial era.)Yo tenà ­a miedo antes del comunicado oficial.  (I was afraid before the official announcement.)Llene este formulario antes de salir.  (Fill out this form before leaving.)No creers cà ³mo Disney hacà ­a sus pelà ­culas antes de las computadoras. (You will not believe how Disney made its films before there were computers.) Finally, antes de que (or antes que, a regional variation used the same way), functions as a subordinating conjunction, which indicates the connection between one event and another and is followed by a noun and a verb (or a verb where the noun is implied): Necesito perder peso antes de que empiece el verano. (I need to lose weight before summer begins.)Mi padre se fue antes que yo naciera.  (My father left before I was born.)Antes de que estudiemos el sol, aprenderemos un algo sobre los tomos de hidrà ³geno.  (Before studying the sun, we will learn something about hydrogen atoms.)Controle su ira antes de que ella le controle a usted. (Control your anger before it controls you.) Note that as in the above examples, the verb following antes de que or antes que is in the subjunctive mood. This is true even when the subjunctive verb refers to something that definitely will or already has happened. One way of understanding the differences is to look at the three variations used in sentences that begin the same: Lo sabà ­a todo antes. I knew it all before. (Antes affects the meaning of the entire sentence and functions as an adverb. This is the only example of these three where beforehand or earlier would work as a translation.)Lo sabà ­a todo antes de hoy. I knew it all before today. (Antes de functions as a preposition with hoy, a noun, as its object.)Lo sabà ­a todo antes (de) que comenzara el trabajo. I knew it all before the job began. (Antes (de) que indicates the time connection between what could otherwise be two sentences.) Ante vs. Antes Although ante is sometimes translated as before, it should not be confused with antes. Although the two words are clearly related, they have separate uses. In modern Spanish, ante is a preposition that means before only in the sense of being in the presence of or in the face of. Common translations include in front of or facing. It can also be translated at considering or compared to. Ha subido las escaleras y se ha colocado ante la estatua de la diosa. (He had climbed the stairs and had planted himself in front of the statue of the goddess.)En una ocasià ³n me invitaron a hablar ante las estudiantes de la Escuela de Negocios de Harvard. (One time they invited me to speak before Harvard Business School students.)Tenemos que aprender a ser tolerantes ante nuestras diferencias raciales. (We need to learn to be tolerant in light of our racial differences.) ¿Te gustarà ­a vivir ante la playa y con maravillosas vistas a mar y montaà ±a? (Would you like living facing the beach with marvelous views of sea and mountain?) Key Takeaways Antes functions as an adverb that, when used by itself, typically means before or earlier.The phrases antes de and antes de que function as a two-word preposition and three-word conjunction, respectively.Ante is a preposition that often means in front of or considering.

Typing Spanish Diacritical Marks on Windows Keyboards

Typing Spanish Diacritical Marks on Windows Keyboards You can type in Spanish on Microsoft Windows machines- complete with accented letters and inverted punctuation- even if youre using a keyboard that shows English characters only. There are essentially three approaches to typing Spanish in Windows. First, use the international keyboard configuration that is part of Windows, best for if you frequently type in Spanish. Alternatively, you can use built in character maps. Finally, you can use some awkward key combinations if you have only the occasional need, if youre at an Internet cafà ©, or if youre borrowing someone elses machine. Tips If you often type in Spanish in Microsoft Windows, you should  install the international keyboard software that is part of Windows and use the right Alt key for the Spanish symbols.If the keyboard software isnt available, you can use the character map app to individually select the letters and special characters you need.The numeric keypad on a full-size keyboard can also be used for Spanish characters using Alt codes. Configuring the International Keyboard Windows XP: From the main Start menu, go to the Control Panel and click on the Regional and Language Options icon. Select the Languages tab and click the Details... button. Under Installed Services click Add... Find the United States-International option and select it. In the pull-down menu, select United States-International as the default language. Click OK to exit the menu system and finalize the installation.Windows Vista: The method is very similar to that for Windows XP. From the Control Panel, select Clock, Language and Region. Under Regional and Language Options, pick Change keyboard or other input method. Select the General tab. Under Installed Services click Add... Find the United States-International option and select it. In the pull-down menu, select United States-International as the default language. Click OK to exit the menu system and finalize the installation.Windows 8 and 8.1: The method is similar to that for earlier versions of Windows. From the Control Panel, sel ect Language. Under Change your language preferences, click on Options to the right of the already installed language, which will probably be English (United States) if youre from the U.S. Under Input method, click on Add an input method. Select United States-International. This will add the international keyboard to a menu located at the lower right of the screen. You can use the mouse to choose between it and the standard English keyboard. You can also switch keyboards by pressing the Windows key and the space bar simultaneously. Windows 10: From the Ask me anything search box in the lower left, type Control (without the quotes) and launch the Control Panel. Under Clock, Language, and Region, select Change input methods. Under Change your language preferences, you will likely see English (United States) as your current option. (If not, adjust the following steps accordingly.) Click on Options to the right of the language name. Click on Add an input method and choose United States-International.  This will add the international keyboard to a menu  located at the lower right of the screen. You can use the mouse to choose between it and the standard English keyboard. You can also switch keyboards by pressing the Windows key and the space bar simultaneously. International Symbols on the Right Alt Key The easier  of the two available ways of using the international keyboard involves pressing the right Alt key (the key labeled Alt or sometimes AltGr on the right side of the keyboard, usually to the right of the space bar) and then another key simultaneously. To add the accents to the vowels, press the right Alt key at the same time as the vowel. For example, to type , press the right Alt key and the A at the same time. If youre capitalizing to make , youll have to press three keys simultaneously- A, right Alt, and shift. The method is the same for the à ±, n with the tilde. Press the right Alt and the n at the same time. To capitalize it, also press the shift key. To type the à ¼, youll need to press right Alt and the Y key. The inverted question mark ( ¿) and inverted exclamation point ( ¡) are done similarly. Press right Alt and the 1 key (which also is used for the exclamation point) for the inverted exclamation point. For the inverted question mark, press right Alt and /, the question mark key, at the same time. The only other special character used in Spanish but not English are the angular quotation marks ( « and  »). To make those, press the right Alt key and either bracket key [ or ] to the right of the P simultaneously. Special Characters Using Sticky Keys The sticky keys method can be used to make accented vowels, too. To make an accented vowel, press , the single-quote key (usually to the right of ; the semicolon), and then release it and type the vowel. To make à ¼, press the shift and quote keys (as if you were making , a double quote) and then, after releasing, type the u. Because of the stickiness of the quote key, when you type a quote mark, initially nothing will appear on your screen until you type the next character. If you type anything other than a vowel (which will show up accented), the quote mark will appear followed by the character you just typed. To type a quote mark, youll need to press the quote key twice. Note that some word processors or other software may not let you use the key combinations of the international keyboard because they are reserved for other uses. Typing Spanish Without Reconfiguring the Keyboard If you have a full-size keyboard, Windows has two ways to type almost any character, as long as it exists in the font you are using. You can type in Spanish this way without having to set up the international software, although both options are cumbersome. If youre using a laptop, you may be limited to the first method below. Character Map: Access character map, access the start menu and type charmap in the search box. Then select the charmap program in the search results. If character map is available in the regular menu system, you can also select it that way. From there, click on the character you want, then click Select, then Copy. Place your cursor in your document by clicking where you wish the character to appear, and then paste the character into your text by pressing CtrlV, or right clicking and selecting Paste from the menu.Numeric Keypad: Windows allows the user to type any available character, including diacritical marks, by holding down one of the Alt keys while typing in a numeric code on the numeric keypad, if one is available. For example, to type the em dash (- ), hold down Alt while typing 0151 on the numeric keypad. Alt codes only work on the numeric keypad, not with the number row above the letters. Character Alt Code 0225 0193 à © 0233 É 0201 à ­ 0237 à  0205 à ± 0241 Ñ 0209 à ³ 0243 Ó 0211 à º 0250 Ú 0218 à ¼ 0252 ÃÅ" 0220  ¿ 0191  ¡ 0161  « 0171  » 0187 - 0151

Effective Leadership Within an Organisational Context Essay - 1

Effective Leadership Within an Organisational Context - Essay Example This intentional feature of acquiescence distinguishes from the various kinds of manipulations reliant on recognized or official power. The final aspect focuses on the fact that the consequences of leadership lead to deriving desired behavior from the followers. These desired actions are supposed to be decisive and are targeted towards an objective in a particular organisation structure. Leadership has been considered immensely significant with regard to the organizations. Leadership is the procedure which ascertains the attainment of the organizational objectives by all the individuals which also helps the organizations to achieve success. The notion of leadership entails the factor of influence. Leadership takes into concern the ways by which the followers are manipulated by the leader. Influence is considered to be an integral part of leadership as leadership would cease to exist without the presence or inclusion of manipulation. Leadership is also believed to take place in groups. The chief purpose of leadership entails manipulating a group consisting of various individuals involved with a common objective. The referred group could be a particular community group, little task group or even a big group representing a complete organization. Leadership refers to the process that is undertaken by a single individual to manipulate a particular group for the reason of attainment of objectives (Northouse, 2009). Leadership also entails the focus towards a common objective. The forces as well powers of leaders are bestowed towards particular or definite individuals who attempt and desire to accomplish something together. Common objective implies that the followers, as well as the leaders, look forward to a mutual objective. The focus towards common objectives provides the facet of leadership a moral implication as it emphasizes on the requirement of the leaders to put in their efforts along with their followers for the reason of attaining chosen objectives.

Nothing in Much Ado About Nothing Essay Example | Topics and Well Written Essays - 1500 words

Nothing in Much Ado About Nothing - Essay Example This is why his plays have made it into college classrooms and their popularity has endured through the centuries. He was a master at making almost universal commentaries about human organization and behavior in a way that also served to entertain. It's important to remember, though, that the original context for Shakespeare’s plays was the same context in which plays are performed today. They were originally intended to provide a simple evening's worth of entertainment for the price of a ticket with the hope that the audience would continue to come back for more. â€Å"Shakespeare’s plays were written to be performed to an audience from different social classes and of varying levels of intellect. Thus they contain down-to-earth characters who appeal to the working classes, side-by-side with complexities of plot which would satisfy the appetites of the aristocrats among the audience† (Geraghty). One of his more popular romantic comedies is the play Much Ado About Nothing in which the word 'nothing' takes on numerous meanings and has an effect on characters actions throughout the play. The play takes place at the home of Leonato, a nobleman of Messina and centers around the stories of two young couples. The female half of these couples are residents of Leonato's house, his daughter Hero and his niece Beatrice. The action begins with the expected arrival of the prince Don Pedro and his party including the male halves of these romantic couples. Claudio is a young nobleman and Benedick is a clever man who has proven himself valuable. An unwelcome part of the crowd is Don John, Don Pedro's illegitimate brother who expresses all the typical bitterness and resentment expressed in characters placed in this life role. Benedick and Beatrice are already acquainted with each other and quickly resume their years long banter back and forth. As they compete with each other over which one can get the most words in, Claudio and Hero are quietly falling in l ove with each other. They decide to marry with the wedding planned in a week. To help pass the time until the wedding day, Hero and Claudio agree with the others to play a game on Beatrice and Benedick designed to force them to finally admit their love for each other. The trick works, but it isn't the only one in the works. Don John, jealous and anxious to cause trouble, convinces one of his men to make love to Hero's maid Margaret at Hero's window one night. As Borachio is busy doing this, Don John brings Don Pedro and Claudio to the garden outside Hero's window where they believe they are seeing Hero being unfaithful to her betrothed. Naturally filled with rage, Claudio calls off the wedding, but does so in a very humiliating way at the ceremony in front of the gathering. The family, finally convinced she might be telling the truth that it wasn't her, decide to pretend she died of her shock and grief in the hope that the truth would come out. It nearly comes to a fight between Cla udio and almost everyone else until the night watchman hears Borachio talking about what he'd done. Claudio, in his grief and to amend for his error, agrees to marry another one of Hero's cousins. It isn't until they are before the altar that Claudio finally realizes the veiled woman standing with him is really Hero. The play ends with Beatrice and Benedick getting married and everyone joining in a celebratory dance. One of the major motifs that runs through this play, giving it