How to Use the French Conditional (le Conditionnel)

The French conditional (le conditionnel) mood is very similar to the English conditional mood. It describes events that are not guaranteed to occur, those that are often dependent on certain conditions. While the French conditional mood has a full set of conjugations, the English equivalent is simply the modal verb would plus the main verb. Le Conditionnel: If...then The French conditional is mainly used in  if...then  constructs. It  expresses the idea that  if  this were to happen,  then  that would be the result.   While French uses the word  si  in the if or condition clause, it does not use a term for then in the result clause.  The conditional verb itself is used in the result (then) clause, while only four other tenses are permitted in the  si  clause:  prà ©sent, passà ©Ã‚  composà ©, imparfait,  and  plus-que-parfait. Il mangerait sil avait faim:  He would eat if he were hungrySi nous à ©tudiions, nous serions plus intelligents:  If we studied, (then) we would be smarterIl mangerait avec nous si nous linvitions:  He would eat with us if we invited him Special Cases: Vouloir and Aimer The verb vouloir (to want)  is used in the conditional to express a polite request: Je voudrais une pomme:  I would like an appleJe voudrais y aller avec vous:  I would like to go with you However, you cant say si vous voudriez to mean if you would like, because the French conditional can never be used after si. The verb aimer (to like, love)  is used to express a polite desire, sometimes one that cannot be fulfilled: Jaimerais bien le voir:  I would really like to see itJaimerais y aller, mais je dois travailler:  I would like to go, but I have to work Conjugating le Conditionnel Conjugating the conditional  may be one of the simplest French conjugations youll encounter. There is only one set of endings for all verbs. Most of them — even many that are irregular in the present tense — use their infinitives as the root. There are only about two dozen  stem-changing  or  irregular verbs  that have irregular conditional stems but take the same endings. To show you how easy conditional conjugations are, lets take a look at how it applies to different types of verbs. Well use  jouer  (to play) as our regular  -er  example,  finir  (to finish) as our irregular  -ir  example, and  dire  (to say) as one exception to the rules. Subject Ending Jouer Finir Dire je -ais jouerais finirais dirais tu -ais jouerais finirais dirais il -ait jouerait finirait dirait nous -irons jouerions finirions dirions vous -iez joueriez finiriez diriez ils -aient joueraient finiraient diraient Notice how we had to drop the e in  dire  before adding the conditional endings. This is the sort of change you will find in that handful of verbs that do not follow the standard conditional conjugation pattern. Other than that, you can see how easy it is to form the conditional from almost any verb, even the irregular ones. The Verbs That Don't Follow the Rules So which verbs are you going to have to pay attention to when it comes to the conditional verb mood?  Dire  and other verbs that end in  -ire  are easy compared to some of the others, a few barely resemble the infinitive form while others take on more subtle changes.   The following verbs are irregular in the conditional mood. Notice how the stems change and that they do not use the infinitive form like the other verbs do. There are two rules here: The conditional stem always ends in r.  The exact same verbs are irregular in the  future tense  and use the same stems. When conjugating these into the conditional, simply attach the endings noted above according to the subject pronoun in your sentence. Infinitive Verb Conditional Stem Similar Verbs acheter achà ¨ter- achever, amener, emmener, lever, promener acquà ©rir acquerr- conquà ©rir, s'enquà ©rir appeler appeller- à ©peler, rappeler, renouveler aller ir- avoir aur- courir courr- concourir, discourir, parcourir devoir devr- envoyer enverr- essayer essaier- balayer, effrayer, payer essuyer essuier- appuyer, ennuyer à ªtre ser- faire fer- falloir faudr- jeter jetter- feuilleter, hoqueter, projeter, rejeter nettoyer nettoier employer, noyer, tutoyer,-ayer stem-changing verbs pleuvoir pleuvr- pouvoir pourr- savoir saur- tenir tiendr- maintenir, obtenir, soutenir valoir vaudr- venir viendr- devenir, parvenir, revenir voir verr- revoir vouloir voudr-

Information Technology And The Technology Essay - 813 Words

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Kundera and Friedlander Essay Example For Students

Kundera and Friedlander Essay Thus, the quality of memory evoking possessed by kitsch is interrelated with nostalgia and the association of the symbolism presented. The following section on the aesthetics of kitsch further explains Binkleys ideas surrounding repetition and kitsch. The Aesthetics of Kitsch With its lack of novelty and ambition, and its lulling repetitiveness, kitsch allows an artefact to become secure and unquestionable, calling for one unified response that becomes incorporated into daily life, as part of the ordinary, domestic, family life that is taken for granted. By creating this secure understanding of the world where performance, repetition, maintenance and constant reinforcement of an individuals identity in relation to society are acted out, kitsch becomes part of a repetitive system. This repetition is a powerful system reinforcing totality and universality in addition to over-riding the threat from the cultural and social pre-revolution material vestiges. the repetitive quality of kitsch provides the existential security of a closed cosmology of cultural objects, where novelty and innovation are safely excluded (Binkley, 2000: 145) We will write a custom essay on Kundera and Friedlander specifically for you for only $16.38 $13.9/page Order now Hence, the repetitive quality of kitsch forms the very bases of its relationship with memory and nostalgia. Kitsch repeats the past. Boym argues that within Russian visual culture, there is no space for multiple layers of historical memory. The past is limited to old, to the most immediate history being negated by the new. Kitsch helps to integrate this past with the new through repetition. kitsch manipulates through objectification of the effects of art, and through ready made formulas that function like pre-modern magical incantations known to trigger specific emotional responses (Boym, 1994:16) In contrast to Binkelys theory Sabonis-Chafee (1999) writes that the Soviet reaction to mass-produced kitsch can be explained using a hypodermic effects model where the audience absorbs the information immediately and without altering the message. Kitschs advantage being; its power to inject, into the essentially inert audience, both its information and its point of view. As a result, shared definitions of a societys goals and needs could be conveyed through the kitsch objects present in everyday Soviet life. In addition to this, the totalitarianism of the state becomes internalized in individuals through the material culture they have been surrounded by, resulting in compliance and auto-totalitarianism. This has led to most cultural critics regarding Soviet kitsch as more dangerous and more potent than its Western versions. Where, according to Kundera (1991), kitsch supports socialist ideologies as it becomes part of a repetitive system geared towards mass production. in the realm of kitsch, the dictatorship of feelings reigns supreme. The feelings included by kitsch are the kind multitudes can share. Kitsch derives from the basic images engraved in peoples memories (Kundera, 1991: 250) Kitsch Memory in Soviet Russia When kitsch is used in a state policy as an approved way of understanding reality, as was witnessed in Russia, it becomes totalitarian kitsch. As such, everything that infringes on it must be banished, and the result is: communist kitsch symbols mass-produced to create sentimentality that reinforces the regime. This is further explored by Friedlander (1990), who states that: such kitsch has a clear mobilizing function, probably for the following general reasons: first, what it expresses is easily understood and accessible to the great majority of people; secondly, it calls for an unreflective emotional response; thirdly it handles the core values of a political regime or ideological system as a closed, harmonious entity which has to be endowed with beauty to be made more effective (Friedlander, 1990: quoted from Sabonis-Chafee, 1999: 365) This semiotic aspect of kitsch, signalling socialist realism, collectively aids the spirit of communism, and therefore kitsch objects can be said to possess agency (Gell, 1998). This agency was effectively used throughout Russia during the Soviet period in strategically constructed propaganda, and is still used today in modern day advertising. In Russian, the word propaganda bears no negative connotations, and can be likened to the capitalist term marketing. If then, we consider soviet propaganda as a marketing of communist ideals; kitsch can be understood as a type of marketing strategy. .ub34c9b30406671bfd58ff8713cca1bb7 , .ub34c9b30406671bfd58ff8713cca1bb7 .postImageUrl , .ub34c9b30406671bfd58ff8713cca1bb7 .centered-text-area { min-height: 80px; position: relative; } .ub34c9b30406671bfd58ff8713cca1bb7 , .ub34c9b30406671bfd58ff8713cca1bb7:hover , .ub34c9b30406671bfd58ff8713cca1bb7:visited , .ub34c9b30406671bfd58ff8713cca1bb7:active { border:0!important; } .ub34c9b30406671bfd58ff8713cca1bb7 .clearfix:after { content: ""; display: table; clear: both; } .ub34c9b30406671bfd58ff8713cca1bb7 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ub34c9b30406671bfd58ff8713cca1bb7:active , .ub34c9b30406671bfd58ff8713cca1bb7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ub34c9b30406671bfd58ff8713cca1bb7 .centered-text-area { width: 100%; position: relative ; } .ub34c9b30406671bfd58ff8713cca1bb7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ub34c9b30406671bfd58ff8713cca1bb7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ub34c9b30406671bfd58ff8713cca1bb7 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ub34c9b30406671bfd58ff8713cca1bb7:hover .ctaButton { background-color: #34495E!important; } .ub34c9b30406671bfd58ff8713cca1bb7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ub34c9b30406671bfd58ff8713cca1bb7 .ub34c9b30406671bfd58ff8713cca1bb7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ub34c9b30406671bfd58ff8713cca1bb7:after { content: ""; display: block; clear: both; } READ: Canadas Copyright Laws EssayThrough slogans, sculptures, and exhortations, sentiment was packaged and offered with an associated kitsch image which was met by wide appeal. These images of manufactured sentimentality make up the essence of what is recognised as totalitarian kitsch. In an environment where suddenly unfathomable technology was questioning their ability to understand the materiality of the world, kitsch gave security and comfort, as the mass of unoriginal and sentimental artefacts acted as an anchor for their consumers. By supplying reassurance that what is to come will resemble what has gone before, and that the hazards of innovation and uncertainty are far away, security was promoted. Lindquist (2002) explains that due to the manufacturing of sentimentality by kitsch, no one is totally immune to it, not even the most sophisticated, as Kundera and Friedlander also admit: most people are, at least at some points of their lives, sensitive to the allure of, say, romantic love, or the beauty of the sunset. In other words, the mode of representation with which kitsch operates, is iconic and indexical: it presents, rather than represents, the widely shared images of happiness, nostalgia, and beauty. When discussing kitsch and memory, nostalgia is an important area of discussion, where differences between high culture and popular culture and between ideology and everyday life, become blurred. This can be explained by using the example of food culture, where relatively cheap copies of formerly expensive luxury products came to play an ever important role. These items soon became essential to the many official and personal celebrations, which were typical of Soviet everyday life, with the best known examples being, Soviet champagne, cognac, caviar and chocolate. The message that these goods carried was clear: everyone could now enjoy the standard of living earlier restricted to members of Russian nobility or the rich bourgeoisie. (Gronow, 2003: 33) One could say that the Stalinist Soviets systematically suppressed formal culture and centralized Socialist Realism in the form of kitsch.