The novel Frankenstein Essay Example for Free

The novel Frankenstein Essay Evil in many individuals is seen as having qualities tending to injury and mischief or as having a nature or properties which tend to negative behavior. The theme of evil is very important to the novel Frankenstein. It is important because, everyone, at one point or time, is seen as evil. Just because they are perceived as evil, it doesnt necessarily mean that they are evil. Everyone can possess the qualities of being evil but that doesnt mean that they should be perceived as evil. In relation to the novel, everyone sees things from their own point of view which therefore creates a whole misunderstanding of the word evil. At the beginning of the novel, a monster is brought into the world by his creator, Frankenstein. Frankensteins dream was to create this monster but it turns out to be what he least expects it to be. Frankenstein perceives the monster as a thing of evil from the moment he brings it to life. Frankenstein than in turn hates the monster. He spent 2 years of his life working on infusing life, into an inanimate body, to than in turn hate it because he perceives it as evil. Frankenstein than abandons the monster because he is disappointed with what he created. The reason he perceives the monster as evil is based mainly on the physical appearance. The monsters muscles and arteries were still showing, and he displayed physical characteristics that would be seen as irregular to society. He believed these irregularities were seen as evil, which in the end, resulted in the desertion of the monster. Since the monster had been abandoned, it ends up wandering into a forest and runs across a town. The villagers visualize it and in turn, throw stones and many other missile weapons at it. This forces it to take refuge back into the forest. This is the first clue that the monster realizes. It eventually sees the problem that he possesses. It sees that it its physical appearance is rather grotesque and apprehends the fact that this may be why he was seen as an outcast to the villagers. On his continued adventure into the woods he comes across a cottage which is occupied by people. It sees this as a chance to be socially accepted into the world. With the physical characteristics, that the monster possesses, he comes to the conclusion that he must understand the human nature to a certain extent, to ensure that he will be accepted into society. It spends the majority of a year outside of the cottage studying up on the human behavior of these cottagers. It recognizes that they possess the ability to communicate through sounds. It attempts to learn the language that they speak, so he could communicate with them verbally. It wants to communicate with them verbally to ensure that they might see it as more human-like than previously discovered. It also attempts to help the family out by surprising them with jobs that were mysteriously accomplished. All this knowledge and help still does not help out the chances of fitting in with the family.

Glen Canyon Dam :: Debate Lake Powell Papers

Glen Canyon Dam This extended essay will analyze the rhetoric of authors discussing the Glen Canyon Dam. These authors include: Jeff Rubin (The Place No One Knew), John McPhee (Encounters with the Archdruid), Russell Martin (A story that stands like a dam: Glen Canyon and the struggle for the soul of the West), and Jared Farmer (Glen Canyon dammed: inventing Lake Powell and the Canyon country). There are always two sides to an argument, one for one against. All seven authors write of the Glen Canyon Dam, and the controversy surrounding the draining of Lake Powell. All of the authors do not actually want the dam to be taken down. Each author talks about what was destroyed by filling Glen Canyon up. They all recognize that Glen Canyon can not be saved, but another dam can be prevented from happening again somewhere else. A pamphlet handed out at the visitor’s center of Glen Canyon Dam states: â€Å"The mission of the Bureau of Reclamation is to manage, develop, and protect water and related resources in an environmentally and economically sound manner in the interest of the American public† (Glen Canyon Dam) This statement ensures the reader that the dam was built â€Å"for the people† doing this without stating any facts that prove the statement. This statement also does not state why the U.S. government built Glen Canyon dam. This pamphlet wants to educate people as to the uses of Glen Canyon. The dangers and the fun that can be had on the lake that was made by the Glen Canyon Dam. â€Å"Some of the shoreline around Lake Powell is loose and can slip and fall†. (Glen canyon Dam) warning the public as to what to watch for. The pamphlet goes on to say; â€Å"Dangerous sections of Lake Powell’s shoreline are too numerous to mark and can appear quickly after a change in the water level or after rainy weather†. (Glen Canyon Dam) The author is saying that not every dangerous area can be marked. By writing this the author is ensuring safety against lawsuits. In Glen Canyon Dammed: Inventing Lake Powell and the Canyon Country, Jared Farmer agrees with the draining of Lake Powell. Farmer goes on to write, â€Å"Consider the river that flows through Grand Canyon: it’s not the real thing. It’s the programmed discharge from Glen Canyon Dam†. (Farmer pg. XIII) In this statement Farmer is saying that he does agree with the dam coming down, although saying that people have their own opinions.

A Compare/Contrast of Monet’s Grainstack(Sunset) and van Gogh’s The Sower

In this essay I will compare and contrast two paintings. The first is Grainstack (Sunset), painted by Claude Monet in 1891. The second is The Sower, which was painted by Vincent van Gogh in 1888. Both paintings were painted around the same time and are very similar in style and subject, but their differences illustrate the change that was happening from the Impressionist to the Post-Impressionist movement. Just beginning with the obvious, both Monet and van Gogh used the same medium, oil on canvas. Both Grainstack and The Sower were paintings of the outdoors around sunset, focusing on the way that the setting sun played with the colors of the environment. They are representational artworks, portraying natural objects in recognizable form, although Monet’s Grainstack is more naturalistic than van Gogh’s Sower. When Monet painted Grainstack, he was experimenting with perceptual color. The idea of the Impressionist movement was to objectively record nature as it was seen by the painter, focusing on the effects of color and light. He painted Grainstack the way he saw it; not the actual color that we know it was, but the colors that the sunset made it appear. Van Gogh, at the beginning of the Post-Impressionist movement, was not merely trying to paint what he saw, but wanted to express emotion in the colors and lines. He was initially drawn to the subject matter by the contrasting colors of the sky and the field, how the contrast of the violet shadows on the field and the yellow sun in the sky almost irritated the eye. Where Monet painted what he saw, van Gogh changed and softened the image so as to portray the emotion in the contrasting colors while still making the painting pleasing to the eye. This became a recurring theme for van Gogh, as can be seen in The Night Cafe, which he painted very soon after The Sower. In both Grainstack and The Sower, the artists use a technique very similar to pointillism. They paint with visible brushstrokes, using colors that blend together to create the images that the artists wish us to see. However, where Monet uses smaller, thinner strokes to create a more streamlined image; van Gogh is more loose and free with his brush strokes, conveying emotion in the broad, expressive lines. This is another example of the transition from Impressionism to Post-Impressionism. The way that Monet and van Gogh approached these two paintings are slightly different. The focal point of Grainstack is the actual haystack. Its lines lead you toward the center of the page, but the main focus is the haystack, sitting off to the side. This gives it a slightly unbalanced feel. In The Sower, van Gogh achieves an asymmetrical balance by countering the visual weight of the farmer on the right, with the path, the birds and the house, all leading the eye to the left and back into the contrasting colors of the environment. While these two paintings may not seem very different at first glance, once you delve into them a little deeper, their differences almost outweigh their similarities. Painted right on the cusp of the transition from Impressionism to Post-Impressionism, these two paintings illustrate the slowly changing style of the period. Their color, line, and subject matter make Grainstack and The Sower perfect examples of the embodiment of their respective movements, and the subtle changes in style that were occurring. References: Doyle, Marc; Art Movements Timeline; The Art Industri Group Van der Wolk, J.; Vincent Van Gogh: Paintings and Drawings; 1990

Llamar Conjugation in Spanish, Translation and Examples

The Spanish verb  llamar  means to call. It is a regular -ar verb, like buscar or parar. Below you can find tables for the conjugation of  llamar in the present, past and future indicative, the present and past subjunctive, as well as the imperative and other verb forms. Llamar Meaning The simple translation of llamar is to call, but depending on its usage, the meaning can vary slightly. For example, it can mean to call as in call someone to come to you,  La madre llamà ³ a los nià ±os para la cena  (The mother called the children for dinner), or it can mean to call on the phone,  El doctor llamà ³ a su paciente por telà ©fono  (The doctor called his patient on the phone). In addition, it can sometimes be used to say that someone is at the door, knocking or ringing,  Alguien llama a la puerta  (Someone is at the door). Another meaning of the verb  llamar  is to name something or someone. For example,  Cuando lo adoptamos, llamamos al perro  Popo  (When we adopted it, we named the dog Popo). It can also mean to call someone or something by a certain name, as in  Su nombre es Federico, pero lo llamamos Fede  (His name is Federico, but we call him Fede). Finally, llamar  can be used as a reflexive verb,  llamarse,  to talk about what someones name is. To say my name is Ana, you can say  Mi nombre es Ana,  but it is actually very common to say  Me llamo Ana  (I am called Ana). For this reason, some people get confused and think that  llamo  means name, but actually, when saying  me llamo  you are saying I am called. When using the verb in this way, remember to include the reflexive pronoun before the conjugated verb. One thing to keep in mind when using the verb  llamar  is how the double L is pronounced in Spanish. In English, the double L is pronounced just like you would pronounce a normal L. However, in Spanish when there are two Ls together, they make a sound much like the English Y (as in yam), or often it sounds like the English J (as in Jack). There is quite a bit of variation in the pronunciation of the Spanish Ll depending on where the Spanish speaker is from.  In some places of South America it even sounds like Sh (as in shark). Llamar Present Indicative Yo llamo I call Yo llamo a mi madre por telfono. T llamas You call T llamas al nio para cenar. Usted/l/ella llama You/he/she calls Ella llama a su abuela todas las semanas. Nosotros llamamos We call Nosotros llamamos a la puerta. Vosotros llamis You call Vosotros llamis profe a la profesora. Ustedes/ellos/ellas llaman You/they call Ellos llaman a los bomberos por el incendio. Llamar Preterite  Indicative In Spanish there are two forms of the past tense, the preterite and the imperfect. The preterite is used to talk about punctual events or events that have a defined ending in the past. Remember to include the accent mark on the last vowel of the  yo  and  usted/à ©l/ella  forms in the preterite. Yo llam I called Yo llam a mi madre por telfono. T llamaste You called T llamaste al nio para cenar. Usted/l/ella llam You/he/she called Ella llam a su abuela todas las semanas. Nosotros llamamos We called Nosotros llamamos a la puerta. Vosotros llamasteis You called Vosotros llamasteis profe a la profesora. Ustedes/ellos/ellas llamaron You/they called Ellos llamaron a los bomberos por el incendio. Llamar Imperfect  Indicative The imperfect tense is used to talk about background events, ongoing or habitual actions in the past. It can be translated to English as was calling or used to call.   Yo llamaba I used to call Yo llamaba a mi madre por telfono. T llamabas You used to call T llamabas al nio para cenar. Usted/l/ella llamaba You/he/she used to call Ella llamaba a su abuela todas las semanas. Nosotros llambamos We used to call Nosotros llambamos a la puerta. Vosotros llamabais You used to call Vosotros llamabais profe a la profesora. Ustedes/ellos/ellas llamaban You/they used to call Ellos llamaban a los bomberos por el incendio. Llamar Future  Indicative Yo llamar I will call Yo llamar a mi madre por telfono. T llamars You will call T llamars al nio para cenar. Usted/l/ella llamarn You/he/she will call Ella llamar a su abuela todas las semanas. Nosotros llamaremos We will call Nosotros llamaremos a la puerta. Vosotros llamaris You will call Vosotros llamaris profe a la profesora. Ustedes/ellos/ellas llamarn You/they will call Ellos llamarn a los bomberos por el incendio. Llamar Periphrastic Future  Indicative Yo voy a llamar I am going to call Yo voy a llamar a mi madre por telfono. T vas a llamar You are going to call T vas a llamar al nio para cenar. Usted/l/ella va a llamar You/he/she is going to call Ella va a llamar a su abuela todas las semanas. Nosotros vamos a llamar We are going to call Nosotros vamos a llamar a la puerta. Vosotros vais a llamar You are going to call Vosotros vais a llamar profe a la profesora. Ustedes/ellos/ellas van a llamar You/they are going to call Ellos van a llamar a los bomberos por el incendio. Llamar Conditional  Indicative The conditional  tense is used to talk about possibilities or conjectures, to talk about things that would happen. For example,  Si tuviera tiempo, llamarà ­a a mi amiga  (If I had time, I would call my friend). Note that the à ­ in the conditional endings always carries an accent mark. Yo llamara I would call Yo llamara a mi madre por telfono. T llamaras You would call T llamaras al nio para cenar. Usted/l/ella llamara You/he/she would call Ella llamara a su abuela todas las semanas. Nosotros llamaramos We would call Nosotros llamaramos a la puerta. Vosotros llamarais You would call Vosotros llamarais profe a la profesora. Ustedes/ellos/ellas llamaran You/they would call Ellos llamaran a los bomberos por el incendio. Llamar Present Progressive/Gerund Form In regular -ar verbs, you form the present participle or gerund  with the ending  -ando. This verb form is used for several purposes, such as to form the progressive tenses, like the present progressive. Present Progressive of Llamar està ¡ llamando she is calling Ella està ¡ llamando al nià ±o para cenar. Llamar Past Participle The past participle for  -ar  verbs is formed with the ending  -ado.  The past participle is used with an auxiliary verb to form compound tenses, such as the present perfect.   Present Perfect of  Llamar   ha llamado she has called Ella ha llamado a su abuela.   Llamar Present Subjunctive The subjunctive mood is used to talk about emotions, doubts, desires, possibilities, and other subjective situations. It is used in sentences with two clauses: the main clause contains a verb in the indicative mood, and the subordinate clause contains a verb in the subjunctive mood. Que yo llame That I call David quiere que yo llame a mi madre por telfono. Que t llames That you call Mara quiere que t llames al nio para cenar. Que usted/l/ella llame That you/he/she call Esteban quiere que ella llame a su abuela todas las semanas. Que nosotros llamemos That we call Carla quiere que nosotros llamemos a la puerta. Que vosotros llamis That you call Francisco quiere que vosotros llamis profe a la profesora. Que ustedes/ellos/ellas llamen That you/they call Diana quiere que ellos llamen a los bomberos por el incendio. Llamar Imperfect  Subjunctive The imperfect subjunctive is used similarly to the present subjunctive, but in situations that happened in the past. There are two options for conjugating the imperfect subjunctive, shown in the tables below. Option 1 Que yo llamara That I called David quera que yo llamara a mi madre por telfono. Que t llamaras That you called Mara quera que t llamaras al nio para cenar. Que usted/l/ella llamara That you/he/she called Esteban quera que ella llamara a su abuela todas las semanas. Que nosotros llamramos That we called Carla quera que nosotros llamramos a la puerta. Que vosotros llamarais That you called Francisco quera que vosotros llamarais profe a la profesora. Que ustedes/ellos/ellas llamaran That you/they called Diana quera que ellos llamaran a los bomberos por el incendio. Option 2 Que yo llamase That I called David quera que yo llamase a mi madre por telfono. Que t llamases That you called Mara quera que t llamases al nio para cenar. Que usted/l/ella llamase That you/he/she called Esteban quera que ella llamase a su abuela todas las semanas. Que nosotros llamsemos That we called Carla quera que nosotros llamsemos a la puerta. Que vosotros llamaseis That you called Francisco quera que vosotros llamaseis profe a la profesora. Que ustedes/ellos/ellas llamasen That you/they called Diana quera que ellos llamasen a los bomberos por el incendio. Llamar Imperative   The imperative mood is used to give direct orders or commands. There are forms for all the persons except for those to whom you cannot give a direct command (first person singular yo  and third person à ©l, ella,  ellos, ellas).  When giving a  negative command, add the adverb  no  before the command. Notice that the positive and negative commands are different for  tà ºÃ‚  and  vosotros. Positive Commands T llama Call! Llama al nio para cenar! Usted llame Call! Llame a su abuela todas las semanas! Nosotros llamemos Lets call! Llamemos a la puerta! Vosotros llamad Call! Llamad profe a la profesora! Ustedes llamen Call! Llamen a los bomberos! Negative Commands T no llames Dont call! No llames al nio para cenar! Usted no llame Dont call! No llame a su abuela todas las semanas! Nosotros no llamemos Lets not call! No llamemos a la puerta! Vosotros no llamis Dont call! No llamis profe a la profesora! Ustedes no llamen Dont call! No llamen a los bomberos!