Understanding Si Clauses in French

Si clauses or conditionals produce conditional sentences, with one clause stating a condition or possibility and a second clause naming a result produced by that condition. In English, such sentences are called if/then constructions. The French si, of course, means if in English. There is no equivalent for then per se in French conditional sentences. There are different types of si clauses, but they all have two things in common: The English result clause might be preceded by then, but there is no equivalent word preceding the French result clause. Si tu conduis, je paierai. If you drive, (then) Ill pay. The clauses can be in one of two orders: Either the  si clause is followed by the result clause, or the result clause is followed by the  si clause. Both work as long as the verb forms are paired correctly and si  is placed in front of the condition. Je paierai si tu conduis. Ill pay if you drive. Types of Si  Clauses Si  clauses are divided into types based on the likeliness of what is stated in the result clause: what does, will, would, or would have happened if....The first verb form listed for each type names the condition upon which the result depends; the result is indicated by the second verb form. First conditional: Likely / Potentiel   Present or present perfect present, future  or imperativeSecond conditional: Unlikely / Irrà ©el du prà ©sent Imperfect conditionalThird conditional: Impossible / Irrà ©el du passà © Pluperfect conditional perfect  Ã‚   These verb pairings are very specific: for example, in the second conditional, you can only use the imperfect in the si clause and the conditional in the result clause. Memorizing these pairings is probably the most difficult part of si clauses. Its important to memorize  the rules concerning the sequence of tenses. The term conditional here refers to the condition being named; it does not mean that the conditional mood is necessarily used in the conditional sentence. As shown above, the conditional mood is not used in the first conditional, and even in the second and third conditional, the conditional mood does not name the condition, but rather the result. First Conditional The first conditional refers to an if-then clause that names a likely situation and the result dependent upon it: something that happens or will happen if something else happens. The term conditional here refers to the condition being named; it does not mean that the  conditional mood  is necessarily used in the conditional sentence.  The conditional mood is not used in the first conditional. The first conditional is formed with the  present tense  or  present perfect  in the  si  clause, and one of three verb forms—present,  future, or  imperative—in the result clause.   Present Present This construction is used for things that happen regularly. The  si  in these sentences could probably be replaced by  quand  (when) with little or no difference in meaning. Sil pleut, nous ne sortons pas. / Nous ne sortons pas sil pleut. If it rains, we dont go out. / We dont go out if it rains.Si je ne veux pas lire, je regarde la tà ©là ©. / Je regarde la tà ©là © si je ne veux pas lire. If I dont want to read, I watch TV. / I watch TV if I dont want to read. Present Future The present future construction is used for events that are likely to occur. The present tense follows  si; it is the situation that is required before the other action will take place. Si jai  le temps, je le ferai. / Je le ferai si jai le temps. If I have time, I will do it. / I will do it if I have time.Si tu à ©tudies, tu rà ©ussiras à   lexamen. / Tu rà ©ussiras à   lexamen si tu à ©tudies. If you study, you will pass the test. / Youll pass the test if you study. Present Imperative This construction is used to give an order, assuming that the condition is met. The present tense follows  si; it is the situation that is required before the other action becomes a command. Si tu peux, viens me voir. / Viens me voir si tu peux. If you can, come see me. / Come see me if you can. (If you cant, then dont worry about it.)Si  vous  avez  de  largent,  payez  la facture. / Payez la facture si  vous  avez  de  largent. If you have money, pay the bill. / Pay the bill if you have money. (If you dont have any money, someone else will take care of it.) Passà © composà © Present, Future, or Imperative Si  clauses may also use the  passà © composà ©Ã‚  followed by the present, future, or imperative. These constructions are basically the same as above; the difference is that the condition is in the present perfect rather than the simple present. Si tu as fini, tu peux partir. / Tu peux partir si tu as fini. If you have finished, you can leave.Si tu nas pas fini, tu me le diras. / Tu me le diras si tu nas pas fini. If you havent finished, [you will] tell me.Si tu nas pas fini, dis-le-moi. / Dis-le-moi si tu nas pas fini. If you havent finished, tell me. Second Conditional   The second conditional* expresses something that is contrary to present fact or unlikely to occur: something that would  happen,  if something else happened. The term conditional here refers to the condition being named, not the  conditional mood. In the second conditional, the conditional mood is not used to name the condition itself, but rather the result. For the second conditional, use  si  Ã‚  imperfect  (stating the condition)   conditional  (stating what would happen). Si javais le temps, je le ferais. / Je le ferais si javais le temps. If I had time, I would do it. / I would do it if I had time. (Fact: I dont have time, but if I did [contrary to  fact], I would do it.)Si tu à ©tudiais,  tu  rà ©ussirais à  Ã‚  lexamen. / Tu rà ©ussirais à  Ã‚  lexamen  si  tu  Ãƒ ©tudiais. If you studied, you would pass the test. / You would pass the test if you studied. (Fact: You dont study, but if you did [unlikely to occur], you would pass the test.) Si  elle  vous  voyait,  elle  vous  aiderait./ Elle  vous  aiderait  si  elle  vous  voyait. If she saw you, she would help you. / She would help you if she saw you. (Fact: She doesnt see you so she isnt helping you [but if you get her attention, she will].) Third Conditional The third conditional* is a conditional sentence that expresses a hypothetical situation that is contrary to past fact: something that would have happened if something else had happened. The term conditional here refers to the condition being named, not the  conditional mood. In the third conditional, the conditional mood is not used to name the condition itself, but rather the result. To form the third conditional, use  si  Ã‚  pluperfect  (to explain what would have had to occur)   conditional perfect  (what would have been possible). Si javais eu le temps, je laurais fait. / Je laurais fait si javais eu le temps. If I had had time, I would have done it. / I would have done it if I had had time. (Fact: I didnt have time, so I didnt do it.)Si tu  avais  Ãƒ ©tudià ©,  tu  aurais  rà ©ussi à  Ã‚  lexamen. / Tu  aurais  rà ©ussi à  Ã‚  lexamen  si  tu  avais  Ãƒ ©tudià ©. If you had studied, you would have passed the test. / You would have passed the test if you had studied. (Fact: You didnt study, so you didnt pass the test.)Si  elle  vous  avait  vu,  elle  vous  aurait  aidà ©. / Elle  vous  aurait  aidà © si  elle  vous  avait  vu. If she had seen you, she would have helped you. / She would have helped you if she had seen you. (Fact: She didnt see you, so she didnt help you.) Literary Third Conditional In  literary  or other very formal French, both verbs in the pluperfect conditional perfect construction are replaced by the  second form of the conditional perfect. Si jeusse eu le temps, je leusse fait. / Je leusse fait si jeusse eu le temps. If I had had time, I would have done it.Si vous eussiez à ©tudià ©, vous eussiez rà ©ussi à   lexamen. / Vous eussiez rà ©ussi à   lexamen si vous eussiez à ©tudià ©. If you had studied, you would have passed the test.

Love, Loss, And Betrayal Essay - 1407 Words

Love, Loss, and Betrayal I can feel myself slipping, falling into the dark abyss. My mind whirls as I listen to a cacophony of noise rush around me. Then I feel the frigid water envelope me and it stings like knives burrowing their way into my skin, piercing every inch of me. I try to breath but the water clogs my throat and threatens to drown me. Then it all stops and I feel the sunlight filter through the icy water and brush my fingertips. As if it is telling me that I will be alright. This is what I felt like when my heart got broken by the person I believed to be my true love. The dark abyss is depression and the drowning is the waterfall of tears. While the knives are the pain you feel, and the noise is the sound of your heart shattering into a million pieces as you read the text that tells you it’s all over. But the sunlight is your family and friends coming to comfort you and to tell you that everything will be alright. This essay is my story of how I found love, lost that love, and was bet rayed by a friend. It all started my Freshman year, second semester in the library. I always sat at the back table because it was quiet place to study. There was also an older girl, Hailey who was from the alternative school who had to sit at my table. One day while I was reading a book and she was drawing this guy just strolled right over with this cocky smile and sat down right next to me. I was taken aback by his gesture but then I realized he was not sitting there toShow MoreRelatedLove, Loss, And Betrayal Essay1299 Words   |  6 PagesLove, Loss, and Betrayal I can feel myself slipping, falling into the dark abyss. My mind whirls as I listen to a cacophony of noise around me. Then I feel the frigid water envelope me and it stings like knives burrowing their way into my skin, piercing every inch of me. I try to breath, but the water clogs my throat and threatens to drown me. 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Banana Yoshimoto comparative essay free essay sample

Banana Yoshimoto effectively portrays various common themes and motifs in both â€Å"Helix† and â€Å"Newlywed†, in revealing the subconscious state of mind of the respective protagonists. Although the storylines are quite different, we get the feeling that many themes and strategies such as isolation, incredible poetic effect, and the recurring use of a helper figure used to develop the characters, are relatively interchangeable. These literary patterns allow for the protagonists to both escape the shallowness that plagues them, and bring to light the deeper meaning behind their subconscious (now conscious) struggles, especially those relating to their true feelings for their personal companions. Isolation is a recurring theme that is a catalyst for the subconscious state causing the climactic epiphanies within the protagonists of both stories. This is comparably portrayed through the blatant representation of shallow urban relationships. In â€Å"Helix†, we witness this theme of shallowness through the personal thoughts of the protagonist at the beginning of the story. In a moment of reflection, the protagonist exclaims, I feel as if my heart will stop beating, because once I know that much about a woman, it can never work out between us. (Helix, 651) Alluding to his lover, this theme of shallowness is difficult to ignore as the narrator is transparently portraying his ability to write off a relationship on incredibly superficial grounds. In â€Å"Newlywed† however, Banana uses the same approach in order to portray this theme of isolation, yet goes to quite an extreme to illustrate her character’s subconscious thoughts. The transformation from bum to beauty is a symbolic element of the story, and is supposed to confuse both the narrator and the reader at first, but it soon becomes clear that there is a deeper philosophical meaning to this odd occurrence. This bizarre intervention, in what seemed to be quite an ordinary context, rapidly changes the pacing and evolution of the story itself. At first, the narrator is unsure of himself, which ultimately leads the reader to question the reliability of his story: â€Å"I tried convincing myself that this was nothing more than a drunken nightmare. That’s what it was, an ugly duckling dream, a transformation from bum to beauty.† (Newlywed, 5) The isolation that surrounds the protagonists of Newlywed and Helix both physically and emotionally is what ultimately leads to the epiphanies that expose the underlying feelings towards their companions. Whether it is an empty train cabin, or the deserted city of Tokyo, Yoshimoto definitely seeks to portray the feeling of seclusion in order to emphasize the revelations that expose the protagonists’ true emotions. Another common aspect in both â€Å"Helix† and â€Å"Newlywed† is Yoshimoto’s use of poetic language and literary symbolism in order to develop both her characters and the story with greater depth. Despite that fact that many of the descriptions that she gives on behalf of the narrator are purely physical, and extremely shallow, it is an important aspect of both stories, as it helps lead to the dramatic changes that occur within the protagonists. In â€Å"Newlywed† for example, when the beautiful woman on the train asks the narrator about his wife, the first description that he gives, is purely physical: â€Å"She’s short, and slender, and has long hair. And her eyes are real narrow, so she looks like she’s smiling, even when she’s angry.† (Newlywed, 6) These superficial descriptions may be attributed to the fact that the narrator was in a â€Å"drunken state†, yet clearly depict him as a man that is not madly in love with his wife. By contrast, the poetic imaging in â€Å"Helix† reveals a man that is clearly in love with his girlfriend. Even near the beginning of the story, when he is expressing his feelings of uncertainty toward his relationship, he still gives this poetic illustration of his girlfriend: â€Å"She was like an evening moon, her white light almost swallowed by the gradations of pale blue sky.† (Helix, 651) This beautiful poetic image of his girlfriend is surprising to the reader, as he had just explained that he was having difficulty overcoming her idiosyncrasies. This dramatization brings the reader to the realization that the protagonist’s stream of consciousness narration is very unpredictable, yet will ultimately lead to his ability to expose his true feelings as the story develops. The author clearly likes to represent this feeling of indecision with poetic illustration as it is used several times in both stories. In â€Å"Newlywed†, the narrator vividly describes his mixed feelings toward his wife, Atsuko, during the peak of his epiphany-like experience: â€Å"For me, the beautiful, all-encompassing web spun by this creature is at once so polluted, yet so pure that I feel compelled to grab on to it. I am terrified by it but find myself unable to hide from it. At some point I have been caught up in the magical power she has.† (Newlywed, 16) Banana doesn’t strictly limit her poetic language to the story’s character development; she also uses it to depict specific moods in order to contextualize certain situations that shake up the intensity of the story itself. Coincidentally, in both â€Å"Helix† and â€Å"Newlywed†, the feeling of isolation is commonly portrayed throughout both stories with the unique use of grandiose language. This allows the protagonists to avoid any outside distractions that would interfere with the personal situations that they have to deal with. Tokyo is described as being a ghost town at the beginning of â€Å"Helix†, for example. â€Å"There was not a soul on the dark streets, save the autumn wind. I encountered this emptiness at every moonlit corner I turned†. (Helix, 651) Clearly unusual in a city like Tokyo, Yoshimoto is almost desperately taking this context to the extreme in an attempt to add an element of absurdity to the situation, and maintain a clear line of focus on the protagonist and his continuous train of thought. In â€Å"Newlywed†, she uses the same strategic language to create a context of solitude in order isolate the protagonist: â€Å"I looked around to see if anyone else had witnessed this amazing transformation, but the passengers in the neighboring cars seemed miles away, in a totally different space, separated by a transparent wall, all looking just as tired as they had moments before, indifferent to my surprise.† (Newlywed, 4) The language that Yoshimoto uses is not only unique, but allows the reader to fully contextualize themselves within the story, and fully comprehend the conscious and unconscious struggles within each story’s protagonist. The use of helper figures is another way that the author both challenges and exposes the protagonists. The most evident helper figure from both stories is the seemingly god-like character that transformed from a homeless man to a beautiful woman in â€Å"Newlywed†. The interpretation of this symbolic figure is entirely left to the reader’s imagination, yet its crucial role in the storyline and to the protagonist’s character development is indisputable. This peculiar intervention is a clear example of how far Yoshimoto is willing to go to force her characters to express their thoughts. At first, it is difficult to process what the narrator is depicting; yet as the story develops, we quickly learn that this character has a specific purpose to act as catalyst to the protagonist’s epiphany-like reflection about his life, specifically in relation to marriage. After opening up to this woman about his life, he explains how he felt about what he had experienced on the train that night: â€Å"Deep inside, I felt timid, even scared, not about my own drunkenness or fear that my mind was playing tricks on me, but the more basic sensation of encountering something much larger than myself, and feeling immeasurably small and insignificant by comparison†. (Newlywed, 12) From this, the reader is able to see that this man is clearly having a life changing experience that is allowing him to re-evaluate the major aspects of his life, including his relationship. This helper figure to the protagonist allowed him to bring out the subconscious struggles that seemed to weigh on him throughout the story. On the other hand, â€Å"Helix† presents multiple helper figures, some seeming as random and arbitrary as that of â€Å"Newlywed† and similarly allows the protagonist to truthfully evaluate and ultimately expose how he feels about the woman that he loves. The first helper figure that seems to startle the narrator does not take the form of a person, but rather a situational mind-cleansing seminar that his girlfriend brings to the table. She explains, â€Å"I guess that’s the chance you take if you go to one of these sessions. You might even end up forgetting things that seemed really important to you, things you don’t want to forget†. (Helix, 652) This seminar quickly becomes a euphemism for breaking up in the mind of the narrator, and his response, â€Å"don’t go†, unconsciously shows his fear of losing her. This ultimately shifts the dynamic of the story as he had previously inferred his desire to break up with his girlfriend at the beginning of the story. Yoshimoto also inserts a random explosion near the end of â€Å"Helix† as the lovers discuss their love for each other. Much like most of the random events that present themselves in her stories, there is a deeper meaning below what we see at the surface. This strange intervention that causes people to â€Å"[poor] into the [empty] streets from every doorway† (Helix, 654) encapsulates the unpredictability that is portrayed throughout the story, and through the narrator’s stream of consciousness narration. This ultimately leads the story to end on a note of misunderstanding and confusion surrounding the protagonist’s comparison of love to the helix of a strand of DNA. The interventions are not only incorporated to reveal and expose the true feelings of each protagonist, but also change the dynamic of each story and help maintain a feeling of unpredictability toward the narratives themselves, as well as the unreliability of the protagonists.

Monitor Children and Young Peoples free essay sample

Explain how to monitor children and young peoples development using different methods. There are many different methods of monitoring/observing and recording children and young people behaviour and performance. There are two types of assessment formative and summative assessments. Formative assessment: There are many observations and assessment methods that we use to record children’s development and will be on going. This is what is called formative assessment, which means even though you get to know a child’s strengths and areas that they may need more support in and will plan for them and carry on observing them. With Formative assessment there are many different methods that can be used such as target child, tick box/checklists, free description, time sampling methods.. all would be used in different settings and for different purposes by different people Summative assessment: Every now and again you may need to do a report on a child’s development so that the child’s parents can see how that child progressing in their development, these sorts of reports can also be used to pass information between from one professional to another like teachers do these sorts of reports at the end of the school year so the children’s next teacher can see how their developing. We will write a custom essay sample on Monitor Children and Young Peoples or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page In my work place we do both formative observations daily/weekly and summative reports every three months. When we do formative observations we mainly use free description/snapshot observations so we observe that child when doing certain activities these types of observations are good as it paints a picture of what the child is doing at that point in time. Free description uses to record the behaviour of a child over a very short period of time or when doing a certain activities the observe notes down what he or she is seeing which paints a picture of the child activity during the time the observation was being done. Checklist and tick charts are normally quick and sample to use, they are mainly used to record large areas of children’s development. They do not usually record how a child achieve a task but simple whether or not they managed to complete the task at hand. With check lists and tick charts. Event sample often used to look at one area of a child’s development or behaviour, such as how frequently the child being observe may show aggression towards other children and sometimes staff or how often a child may suck their thumb. Every time the behaviour that’s being monitored happens it is/should be recorded on the prepared sheet. Time sample: used to look at children activity over a predetermined length of time like one afternoon, children are observe at regular intervals like every 15minutes and the observations are recorded on a prepared sheet. Target child used to record one child’s activity over a long period of time without any gaps in the recording progress. Normally a prepared sheet is used for this type of observation to help the observer and some sign and codes may be uses so the observe can carry on recording.