How To Write a Business and Personal Letter in Spanish

Whether youre writing a letter to a Spanish-speaking friend or preparing a formal business letter, the greetings and salutations in this lesson can help give your letters credibility. Greetings to Use in Writing a Letter In English, it is common to begin both personal letters and business correspondence with Dear ___. In Spanish, however, there is more variation depending on how formal you want to be. In personal correspondence, the equivalent of dear is querido or querida (the past participle of querer), depending on the sex of the person. Querido is used for a male recipient, querida for a female; plural forms queridos and queridas can also be used. In Spanish, it is the rule to follow the greeting with a colon rather than the comma used in English. Use of a comma is seen as an Anglicism. Querido Roberto: (Dear Roberto,)Querida Ana: (Dear Ana,)Queridos Juan y Lisa: (Dear Juan and Lisa,) Note that in Spanish the masculine form, queridos, is used if the recipients include people of both sexes. However, querido is too casual for business correspondence, especially when you arent a friend of the recipient. Use estimado or estimada instead. The word literally means esteemed, but it is understood the same way as dear would be in English: Estimado Sr. Rodrà ­guez: (Dear Mr. Rodrà ­guez,)Estimada Sra. Cruz: (Dear Mrs./Ms. Cruz,)Estimada Srta. Gonzà ¡lez: (Dear Miss Gonzà ¡lez,) Spanish doesnt have a true equivalent of the English courtesy title Ms. (and in Spanish, the distinction between seà ±ora and seà ±orita, traditionally translated as Mrs. and Miss, respectively, can be one of age rather than marital status). It normally is fine to use the courtesy title of Sra. (the abbreviation for seà ±ora) if you dont know whether a female recipient of the letter is married. Good advice is to  use Sra. unless you know the woman prefers Srta. If you dont know the name of the person youre writing to, you can use the following formats: Muy seà ±or mà ­o: (Dear sir,)Estimado seà ±or: (Dear sir,)Muy seà ±ora mà ­a: (Dear madam,)Estimada seà ±ora: (Dear madam,)Muy seà ±ores mà ­os: (Dear sirs, dear sirs/madams,)Estimados seà ±ores: (Dear sirs, dear sirs/madams,) The Spanish equivalent of to whom it may concern is a quien corresponda (literally, to the one responsible). Closings to Use in Writing a Letter In English, it is common to end a letter with Sincerely. Again, Spanish offers a greater variety. Although the following closings for personal letters may sound overly affectionate to English speakers, they are quite commonly used: Un abrazo (literally, a hug)Un fuerte abrazo (literally, a strong hug)Carià ±osos saludos (roughly, kind regards)Afectuosamente (affectionately) The following are common with close friends or family members, although there are many others that can be used: Besos y abrazos (literally, kisses and hugs)Besos (literally, kisses)Con todo mi carià ±o (with all my caring)Con todo mi afecto (with all my affection) In business correspondence, the most common ending, used in much the same way as sincerely in English, is atentamente. That can also be expanded to le saluda atentamente or les saluda atentamente, depending on whether youre writing to one or more persons, respectively. A more casual ending that can be used in business letters is Cordialmente. Longer salutations include saludos cordiales and se despide cordialmente. Although this language may sound flowery to English speakers, it is not unusual in Spanish. If you are expecting a response from a business correspondent, you can close with esperando su respuesta. As is common in English, the salutation is typically followed by a comma. If youre adding a postscript (posdata in Spanish), you can use P.D. as the equivalent of P.S. Sample Personal Letter Querida Angelina: ¡Mil gracias por el regalo! Es totalmente perfecto.  ¡Fue una gran sorpresa!Eres una buena amiga. Espero que nos veamos pronto.Muchos abrazos,Julia Translation: Dear Angelina,Thanks a lot for the gift! Its totally perfect. It was quite a surprise!Youre a great friend. I hope we see each other soon.Lots of hugs,Julia Sample Business Letter Estimado Sr. Fernà ¡ndez:Gracias por la propuesta que usted y sus colegas me presentaron. Creo que es posible que los productos de su compaà ±Ãƒ ­a sean à ºtiles para minimizar nuestros costos de produccià ³n. Vamos a estudiar la propuesta meticulosamente.Espero poder darle una respuesta en un plazo de dos semanas.Atentamente,Catarina Là ³pez Translation Dear Mr. Fernà ¡ndez,Thank you for the proposal that you and your colleagues presented to me. I believe it is possible that your companys products could be useful for reducing our production costs. We are going to study the proposal thoroughly.I hope I can give you a response within two weeks.Sincerely,Catarina Là ³pez

Essay about Fifty Shades of Skin Color - 2012 Words

Clippers owner, Donald Sterling, has been caught in the act of classic racism. His personal assistant/girlfriend recorded him in his own home during a fight they were having. Sterling made the remark that she cannot bring a black person to one of his basketball games, even though she herself is African-Mexican American. Racism still exists today and will continue to exist if people like Mr. Sterling do not get the message that it is erroneous to think of another man or woman as a lesser human being because of the color of their skin. Donald says that, â€Å"People feel certain things. Hispanics feel certain things towards blacks. Blacks feel certain things towards other groups. It’s been that way historically, and it will always be that†¦show more content†¦On her death bed, Aunt Jimmy was not into voodoo nor superstitions that most African-Americans held tightly to their culture, instead the only advice she paid any attention to was when Miss Alice was readin g to her out of the Bible from the chapter of First Corinthians. Older black women like Aunt Jimmy had suffered most of their lives, but now in this old age, they were free to live the rest of their lives without misery and to show affection towards others instead of hate: Everybody in the world was in a position to give them orders†¦ The only people they need not take orders from were black children and each other. But they took all of that and re-created it in their own image. They ran the houses of white people, and knew it. They beat their children with one hand and stole for them with the other. The hands that felled trees also cut umbilical cords; the hands that wrung the necks of chickens and butchered hogs also nudged African violets into bloom; the arms that loaded sheaves, bales, and sacks rocked babies into sleep†¦ And the difference was all the difference there was. Then they were old†¦ They had given over the lives of their own children and tendered their grandchildren. With relief they wrapped their heads in rags, and their breasts in ï ¬â€šannel; eased their feet into felt. They were through with lust and lactation, beyond tears and terror. 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Fifty Years of Composing Computer Music and Graphics Essay Example For Students

Fifty Years of Composing Computer Music and Graphics Essay A partnership is developing lhai offers a special complementarity of relationship between musical and visual design With this new partnership we are learnin to compose a unique counterpoint by means of computer algorithms. I would define the algorithms that we use as the routines of computer instructions that generate co ordinated color design with musk through solid state opera tions. as a real-time event. These algorithms can be composed interactively on many of the fast personal com puters (PCs). Only recentb have computers acquired a musk and graphics-generating capability, wbkh often can lie installed in one computer instrument. This has become what we right fully may call the artists first unisersal machine: an instru ment for composing time-based audio and visual modalities. Founded upon my own vision of just such a universal machine long before the first computers, my study ofcolor in-inotion began as a search for various germinal aesthetic piini ipals directed toward develop ing a fine an that might employ that instrument. When I later gained access to computers, ms explorations of what I began to rail ‘digital harmony gradually revealed to me a world of pure fluid graphics I uncovered aesthetic concepts that suggested how differential functions within a wide variety of geometric algorithms generate order disordcr graphics in a world of abstract design in motion. A tspiral ordcr disordcr algo rithm might distribute points in a field that would appear to be scattered at random, while moments later (some computer displavs later), the points might evolve bs differ ential progression into an obvious pattern of order, form- ing. perhaps, an elegant rose curve. Order that resolves to disorder, or disorder that resolves to order and repose, is like a musical resolution. The similarities (hat these tem poral development* share with music struck me long ago (Color Ilatc Ð’ No I). Thus my concepts for a visual har mony evolved. Computer algorithms, plotted on mam one frame displavs and copied to film, h elped me clarify my ideas of orderly development. I tested and demonstrated my ideaswith a succession of complete films. Eventually. I tame to understand how an arithmetic of resonance and ratio actually embodies the architecture of musk. The dilferential arithmetic of musicits scales, in tervals and chords—could complement a graphic differen tial geometry. Visual patterns, derived from simple periodic geometry, produce order-disorder resonances in evolving actions that sometimes mimic the consonances and dis   sonanccy the tension ») dynam ics and the universal emotive powers of musical figuration, rhythm and harmony. These were summary conclusions I was able to draw from com puter filmmaking. Through mv essays and film compositions. I derived broad hypotheses about the pervasive pcriodicitv of all temporal artvisual or musicalfor mv book. Outline1 Shaping a New Foundation2 Synthesis and Genesis3 Digital Harmony4 Some General Reflections Shaping a New Foundation Note durations, the tempo of music and the timing of the sounds and silence of musical structure are overwhelmingly determined by the demands of harmony (2). Vet f hail begun to suspect that another determinant giving shape to time would soon become known. There was to be a visual structuring agent, such as the ordcr-disordcr patterns, in the audio-visual worlds of cinema and video that would shape the lime required for an action to lake place in space. Indeed, for an action to piocred from here to there (or to proceed from order to disorder to order), time must pass. Whether quick or slow, action, as well as hannonv, deter mines much of the shape of my own audio-visual work today. Action itself has an impact on emotions. Fluid, orderly action generates or resolves tensions much in the manner that orderly sequences of resonant tonal harmonv have an impait on emotion and feeling Dancers know this. The conductors gestures implv something ol this sort. Creative work with computers soon demonstrated that the smallest basic, quantifiable units of construction for my computer art are the pixel point of color and the pure audio sine wave. I learned that the basic musical unit is no longer the single acoustic tone as produced bv any of the wide   family of acoustic musical instruments or the human voice. Natural forces construc t tones out of sine waves. How ever. a new world of non-acoustic (i.e electronically generated and pat terned) musical tones, tonal complexes and textures also flows from complex or simple sine-wave constructs gene rated bv computer algorithms. Nor is llie basic visual element a gestalt or visual symbol like the letters of the al phabet I found that with pixels, one constructs a liquid plasma of graphic architecture in an unprecedented tem poral domain formerly belonging ex clusively to musical architecture. Sine wave and pixel can he used to generate resonant structures, with hoth element* contributing essential constructive parts to a greater whole. The mathematical processes driving and shaping these rev onant visual constructs, as well as the intnguingly similar mathematical pro cesses shaping tonal constructs, seemed to provide the foundation for what was to become a truly audio-visual art. Synthesis and Genesis Assuming such a basic foundation, we may compare two terms belonging to electronic music jatgon: synthesis and genesis. My studies suggested that when composing music bv computer one should stress basic algorithmic or generative processes. The elemental* pixel and sine wave can be con structed fioin the ground up, so to speak, into dynamic visual patterns as well as melodic patterns of unique new timbres and actions, each by its own respective assorted algorithms in vented and applied by the composer. Heretofore, we viewed each of the classical acoustic musical instruments, figuratively, as its own algorithm producing characteristic. Itardb alter able timbre. Now. as one explores the diversity of possible computer al gorithms. one finds a veritable Ein steinian conceptual universe of tonal relativity—an unprecedented universe of relative pitch, relative time and rela tive timbre Here is a fresh domain for generating continuously variable tonal pattern and texture. The Perspective Construction of Masaccio's "Trinity" Fresco and Medieval Astronomical Graphics EssayThe per forming genius can take apatt these rapid action patients one at a time, step by step, in order to pause, reflect, then reassemble them with only the slightest modification, inching toward the ulti mate performance. Time stored in dig ital mentors becomes a malleable mate rial. perhaps, in this tense. This singular fact, above all others the new physical uactubilily ol time has significantly changed musical per spectives. This is what I sought to understand and to control. On film, lime is fixed into the silver image. But in digital computer memory, utne bfreely alterable and permanently storable. With access to this new dimension of time, a few composers will sureb elect to set aside their heretofore cherished and essential musicianship and the en semble members with whom they per formed. Thev will join tanks with the large community of painters and sculp tors wliuse work re sts in their own hands, whose wiork is subject to the most subtle personal manipulations, and whose work is final—unchallenged by any form of subsequent interpretation. Since, however, argument over the relationship ol art to newlv developing instrumentation is an ongoing subject of no slight controversy. I can provide (hisconcluding anecdote: With two homemade devices simple sine wave pendulum arrav and an optical-printer instrument my bro ther James and I composed our first modes* international success in the rati fied avant-garde of MTV (5). Wr were awarded firs prize at Belgiums First International Experi mental Film Competition Ihi early triumph implanted in our minds an urgent, lifelong drive to gam access to a perfected facility that would provide music and graphics capabilities unified within one instrument. All this began at least SO years before computer technology would allow us to realize this drram. In 1959 I wrote a description of our pendulum and optical-printer methods and theories of composition for Karl heinz Stockhausen’ » journal of elec tronic musk Die Hfthr, Vol. 7 (61. Volume 1 of Ihr Rriht included an ar ticle by Pierre Boulez in which he raised the question. Is a concert hall really necessary when the performing artist has been eliminated? .As long ag o as the I9MH. when electronk music was created bv spiking magnetic tape seg ments, many were skrptkal about bothering to enter a concert hall to hear music played over bland loud speakers. Boulez appropriates asked. â€Å"Is it not necessary then to find new conditions for listening or are we to contemplate the reuniting of this ‘arti ficial’ music with a ‘visual double (7)   Reading Boulezs opinions in the late 1950s. I remember asking myself, Why would anyone question if this clrrtronic music should have a visual double?† Today the answer is even more obvious, unless it be to prcseive traditions of black tie and tails, earnest electronic composers hardly need to reinvent either violin or concert hall. But composers who elect to deal fully and correctly with computational elec tronics simph must, in my view, invent that ‘visual double. In the 1940s and 1950s mv brother and I were possessed of a benign obses sion to combine ‘artificial’ music with a ‘visual double’ We continued to search for new formal structures and appro priate universal instrumentation. We had conceived an indelible dream of aural-vivualiiv within a new art form. Privately. I envied Domenico Scar latti and Antonio Solar, who. by virtue of roval generosity or through a Popes large », seemed to have been provided tile instruments and the patronage with which to compose hundreds and hundreds of simple essays exploring a keyboard sonata form that was largely of their own invention (Scatlatii called them ‘exercisesa term that my bro ther and I adopted for our Five Abstract Film Exercises) The seemingly bliss ful continuity of their lifelong creativity was exactly what my brother and I longed to emulate. Would that we hail had such a gift of insti uincntation! And yet, it is here at last. My compositions at best are in tended to point a way toward future developments in the aits. Above all. I want to demonstrate that electronic music and electronic color-in-action combine to make an inseparable whole that is much greater than its parts.

teenager love or passion Essay Example

teenager: love or passion Essay teenager: love or passion BY STUDYit08 Teenagers Nowadays Teenagers nowadays are desperate. Everyday, it seems like their life is wasting away. They cant handle routine,challanges and false masaquarades. Teeneagers nowadays cut themselfs with a razor blade Dressing their life in the darkest shade. Teenagers nowadays toy with the thought to die Helpless,hopeless, they break down and cry, sick and tiered of liflng a lie What if I tell you, that life surely is hard, but I havent planned on ending it right from the start? And what if I tell ya something completly new, that Im a young person, but Im able to be happy too? Teenagers nowadays cant accept themselves Judging their appaerances like a broken toy on the shelf. They simply dont know how to eat, (without puking afterwards) or realize that its their body to treat(vital signs travelings downwards) They only care about what meets the eye kissing beauty in the eye of the beholder forceful goodbye. What if I tell you that me and my appereance might not be best friends, on your point of view it depends, but we get along well? Teenagers nowadays dont know how to behave Declaring their souls to peergroup slaves. Only if were all the same, then we will be strong. We will write a custom essay sample on teenager: love or passion specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on teenager: love or passion specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on teenager: love or passion specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The longning to be unique, tell me, is it really that wrong? Theyre rude, vulgar and simply brats Be one of us, allow yourself a nosefull of skatt. Screaming and punching, loosing their tempter time after time without any proper reason or rhyme. What if I tell ya, that I dont project my self-hathred against others I dont want to be one of this nelly little fakers Who simply are too afraid to be what they really are, too afraid that it might leave a scar. Teenagers nowadays are stupid Spitting their awknoledge out for the world to hear Tainting the air with theories about which Shakespear would surely waste a single ear. The outside madders, the inside can mould away in misery. What if I tell you, that I dont answer the questions about my futur with an apathetic shrug? Teenagers nowadays are addicted They drink, they smoke, gamble with their health They only see it, once that they lost their wealth Only when theyre high, they can bear beeing alive. Take another shot and dance with me on the edge of this knife. What if I confess to you, that I am addicted too? Im addicted to life, Im addicted to be, Im addcited to everything this world offers Teenagers nowadays are rotten Lazy pigs, pussies, pricks Theres no difference between bitches and chicks Theyre all the same, in their litte universe Where they rule the kingdom, the children of the light They dont need you to tell em that itll be alright. Theyre already lost and dont give a fuck Youre a nobody so dont help them, tho itd be for their onw luck. Blame it on the family, the poor bastards that raised this brutes. This are many prejudices teenagers nowadays carry on their back. Look in the mirror, feel free to look twice. Tell me are you really this cold as ice? This stupid, this dump? Are your senses really getting dull and numb? Are you killing your feelings, because they can bring you down? Did you forget how to smile and instead wear a frown? If this is what teenagers nowadays have to be Then please understand, but I dont want to be one of them. Drowning in this stereotypie. Im a young person, please understand, that Im not that useless as you want me to be. One thing abour teenagers nowadays I learned fast and clear: They live the second and be what they are, no matter what happenes my dear. Be whatever you want to be Be free you are Built up by persons who dont know you and have no right to Judge. Youre unique

Romantic Art essays

Romantic Art essays Our groups task was to prepare a creative expression of Romantic art. Throughout the process of preparation, there were many positive aspects and obstacles found in the project. There were also many interesting details that I learned about this time period in art. The best parts of working with my partner included that she was an expert in this field. Andrea knew exactly what characterized Romanticism and explained its characteristics to me. During the process of this project, we found out that we both had different talents. I was the more technical detailed person, while Andrea was the creative one. As we were preparing for the presentation, a problem arose. We werent exactly sure how to present our information in a creative way to include the class. Andrea solved this problem by suggesting that we make it into a game. We would present to the class a paintings form the Romantic time period and paintings from the Classical period. The class, form that point would have to guess what time period the paintings came from. They should know how to do this since we would discuss the differences between Classicism and Romanticism. In the end there would also be prizes. Another problem that occurred was my unexpected illness. This interfe red with the project completion and it turned out to be a big hassle. I came back to school on the day of the presentations with nothing done. But luckily a lot of groups were ahead of us and the assembly helped us out as well. Another obstacle was the scheduling. Andrea works and it was difficult to find a time that would suit us both. But we worked out something in the end. During the research portion of this project, I learned many new things about the Romantic art movement. I found out that Romanticism was a rebellion against Classicism and Neoclassicism. Romantic art was characterized by the raw emotions, expressions and dream-like qualities while Classic art ...

Glow in the Dark Duck Tape Triboluminescence

Glow in the Dark Duck Tape Triboluminescence You can use duck tape to see an example of triboluminescence, the glow given off when some materials are subjected to mechanical stress or friction. The duck tape (or duct tape) triboluminescence project is extremely easy and only take a few seconds to try. It doesnt matter whether you call the tape duck tape or duct tape, but your results seem to depend partially on the brand you use: Henkelâ„ ¢ works well. What You Do Tear off two strips of tape. Stick the pieces together with the sticky sides facing each other, leaving enough tape so that you can pull the strips apart. Turn out the lights. Give your eyes a minute or two to adjust to the dark. Pull the strips of tape apart. How It Works Did you see the blue line where the tape separated? This is triboluminescence, which is a type of luminescence triggered by mechanical energy or electrical energy from an action such as friction. You can get the same effect from other types of tape as well. A good one to try is transparent Scotchâ„ ¢ tape. If you have a hard time separating strips of tape with their sticky sides together, you can see the triboluminescent glow simply by pulling the tape (quickly) off of the roll, though the light will not be quite as bright.

Strategy in practice Essay Example | Topics and Well Written Essays - 3000 words - 1

Strategy in practice - Essay Example At this point emphasis should be made to the following fact: the strategy is not set by any member of the organization; it can be only defined by the organization’s leader (De Wit and Meyer 2010, p.502). Of course, other members of the organization, such as line managers, can have a role in the formulation of organization strategy but this role is limited, usually referring to the provision of information for the performance/ problems of their unit (De Wit and Meyer 2010, p.502). When setting the strategy of the organization leaders can take into consideration the comments of employees in various organizational departments; these comments can affect the organization’s strategy only at the level that the leader of the organization will decide (De Wit and Meyer 2010, p.502). The most important characteristic of strategy is the following: it refers to ‘all functions and parts of the organization’ (Toma 2010, p.16-17). Nestle was first established in Switzerland in 1866 (Nestle, Organizational website, History). Through the decades the company has managed to expand globally, a strategy that has been followed by the increase of the business objectives/ areas of operations. Indeed, in 1866 Nestle has been solely a milk factory; today the business is considered as one of the leaders in the food industry in general (Nestle, Organizational website, History). The strategy of Nestle is incorporated in a graph presented through the organizational website (Figure 1, Appendices). According to the particular graph the strategy of Nestle is divided into three parts (Organizational website, Strategy): a) the firm’s Competitive Advantages; the R&D department of the organization and its extended portfolio of brands are considered as the firm’s major advantages, b) the Growth Drivers: in this category emphasis is given to the firm’s reputation as a firm promoting health through its high-quality food products. At the same