TRIGGER SENTENCE: Mary is sad because her mother died.
(We see Mary in her room; she’s been crying for two weeks now. She’s very sad and wants to jump out the window. Suddenly, her best friend comes into Mary’s house and sees what Mary wants to do.)

Susan
What are you doing?! What’s wrong?

Mary
Leave me. I want to die.

Susan
No, I won’t leave you. You are my best friend and you have a lot of people who love you.

(At that moment, Mary sees through the window her boyfriend kissing another girl… and she jumps through the window).

The End

Bárbara Quipildor – Fernando Olivieri (2º4a)

ORACIÓN DISPARADORA: Mary está triste porque su madre murió.
(Vemos a Mary en su cuarto; ya hace dos semanas que estuvo llorando. Está muy triste y quiere saltar por la ventana. De pronto, su mejor amiga entra en la casa de Mary y ve lo que Mary quiere hacer.)

Susan
¡¿Qué estás haciendo?! ¿Qué te pasa?

Mary
Déjame. Quiero morir.

Susan
No, no te dejaré. Eres mi mejor amiga y tienes mucha gente que te ama.

(En ese momento, Mary ve por la ventana a su novio que se está besando con otra muchacha… y salta por la ventana).

Fin

Bárbara Quipildor – Fernando Olivieri (2º4a)

TRIGGER SENTENCE: Mary was sad because her mother died.

(Inside Mary’s office)
John
Hello.

Mary
Hi.

John
How are you?

Mary
Very bad.

John
Oh, yeah. They told me about your mother. Poor lady, she was so good!

Mary
Yes, this is a difficult moment for me.

John
If you need help or anything, please call me.

Mary
Thank you very much. I’ll remember that.

John
But…what happened? She was a healthy person.

Mary (crying)
She fell over a bridge.

John
Oh, I’m sorry, I’m sorry

Mary (crying)
No, I’m OK

John
Peter is calling me. I’ll see you later.

Mary
Good bye.

The End

Juan Quintana (2º4a)

ORACIÓN DISPARADORA: Mary estaba triste porque su madre murió.

(Interior oficina de Mary)
John
Hola.

Mary
Hola.

John
¿Cómo estás?

Mary
Muy mal.

John
Ah, sí. Me contaron lo de tu madre. ¡Pobre señora, era tan buena!

Mary
Sí. Éste es un momento difícil para mí.

John
Si necesitas ayuda o algo, por favor llámame.

Mary
Muchas gracias. Lo recordaré.

John
Pero… ¿qué pasó? Era una persona saludable.

Mary (llorando)
Cayó desde un puente.

John
Oh, lo siento, lo siento.

Mary (llorando)
No, estoy bien.

John
Peter me llama. Te veré más tarde.

Mary
Adiós.

Fin

Juan Quintana (2º4a)

TRIGGER SENTENCE: John needs money to pay the mortgage and goes to the bank.
(We see John desperate because he does not have the money to pay his mortgage. He’s with his best friend, Robert).

John
What can I do? I don’t have any money and the mortgage expires tomorrow.

Robert
I have a master plan: let’s rob a bank.

John
But I can’t do that!

Robert
I’ll go with you.

John (not fully convinced)
Right…

(Inside the bank)
John
This is a heist!

Robert
Give us all the money!

(They flee with the money)
John
Great! Now I can pay the mortgage.

Robert
I’ll take care of the cash. Tomorrow we go to your bank.

(Morning. In the street. Robert does not come. We see him going away on a car with all the money. )
John
Oh, no! I want to kill myself.

(He takes a gun and shoots himself)

The End

Ailén Acebey – Jessica García de la Mata (2º4a)

ORACIÓN DISPARADORA: John necesita dinero para pagar la hipoteca y va al banco.

(Lo vemos a John desesperado porque no tiene el dinero para pagar su hipoteca. Está con su mejor amigo, Robert).

John
¿Qué puedo hacer? No tengo dinero y la hipoteca expira mañana.

Robert
Tengo un plan maestro: robemos un banco.

John
¡Pero no puedo hacer eso!

Robert
Yo iré contigo.

John (no convencido del todo)
Está bien…

(Interior del banco)
John
¡Esto es un asalto!

Robert
¡Dennos todo el dinero!

(Huyen con el dinero)
John
¡Fantástico! Ahora puedo pagar la hipoteca.

Robert
Me haré cargo del dinero. Mañana vamos a tu banco.

(la mañana. En la calle. Robert no viene. Lo vemos irse en un auto con todo el dinero. )
John
¡Oh, no! Me quiero matar.

(Extrae un arma y se dispara)

Fin

Ailén Acebey – Jessica García de la Mata (2º4a)

The history of movies

By students:
• Gabriela Miguel Gómez
• Erika Szczapowy

The silent era
In the first times, the films were silent.
En los primeros tiempos, las películas eran mudas.

History from 1895 to 1906

The first five years of motion picture show the cinema moving large scale entertainment industry.
A movement the films constisting of one short completely made by one person with a few assistants.
Durante los primeros cinco años el cine no tenía mucho movimiento. El show movido fue una larga
escala en la industria del entretenimiento. El movimiento consistía en un movimiento completo
realizado por una persona con asistentes.

Film business up to 1906

Edison originally intended to create a sound film system, in France Lumiere Company was the first in
sending cameramen all around t he world.
Edison originalmente intentó crear un sistema de sonido, en Francia la Compañía Lumiere fue la
primera en enviar camarógrafos alrededor del mundo.

The film business

There were a few larger cinemas in some of the biggest cities, and the programme one or twice a week.
Había algunos cines en algunas grandes ciudades y la programación cambiaba una a dos veces por semana.

Hollywood Triumphant

The American industry with center in Hollywood, California, is the fist company in the movie factory, exporting its product in another countries and controling market on the earth.La industria americana, con centro en Hollywood, California, es la primera compañía en la fabricación de películas, exportando el producto a otros países y controlando el mercado en la tierra.1990 New special effectsThe cinema was increesingly dominant by special effects.El cine fue coinado cada vez más por efectos especiales.2000’sThe new documentary films and revival of interest in epic cinema and musical cinema.Las nuevas películas documentales y el renacimiento del interés por el cine épico y el cine musical.

HALLOWEEN

On the night from October 31st to November 1st in many Anglo-Saxon countries, and now in most of the world, it is commemorated Halloween. This celebration has nothing to do with the Witches’ Night, although many people confuse them both and very often we hear somebody saying that the night of October 31st is the Witches’ Night. So, before we proceed with the history and some outstanding characteristics of Halloween, we are going to clarify this misconception.

Witches’ Night is a commemoration held in Germany. It takes place on the night from April 30th to May 1st (first difference with Halloween), its name, in German, is Walpurgis Nacht (literally, “Night of the Witches”) and the other main difference with Halloween is that on Walpurgis it is believed that witches and sorcerers meet wit the Devil himself and all of them indulge in a big orgy. Walpurgis is, therefore, a commemoration of something evil, for the result of that communion between the Devil and his followers is that the latter come out with a greater strength to do mean and destructive things, because the Devil gave them that force.

Halloween, instead, is the contraction of All Hallow’s Eve or Eve of the Innocents. This festival comes from the ancient celebration called Samman, where the Ireland, Wales, Scotland and French Celts commemorated the end of the harvest season and the beginning of winter (let’s not forget that the Celts were in the Northern Hemisphere, so summer and winter begin on different days than in the Southern hemisphere).

The importance of that festival was that Celts believed that on that night a portal between the world of the living and the dead opened, and that the spirits of the dead came to seize the living and take them to the netherworld. That is why the druids, the Celt caste of priests, would pray for all the community and bonfires were lit to avert those spirits. Also, people left food and sweets at the doors, believing that the spirits would be contented with those presents and would leave without hurting the living. From here comes one of the outstanding features of this commemoration: the raids children, dressed in horrifying costumes (vampires, monsters) do, going from door to door crying “Trick or Treat” and expecting candy and other sweets from the owners of those houses, who have prepared in advance bowls containing all sorts of sweets to give the children who, obviously, represent those spirits we mentioned above but, contrary to popular belief, when they cry “Trick or Treat!” they are unknowingly rememorating a ghastly characteristic Celts believed the spirits had: they ate the newborn (the Innocents of the name) and the cry should actually be understood as “Trick (deception) or Treat (delicacy), because Celts believed that when they gave those presents to the spirits they were tricking (deceiving) them, to prevent them from eating the babies (treat, delicacy); in connection with this, another way to deceive the spirits into believing that they were taking infants and children was to bake gingerbread dolls that represented little children.

Finally the other outstanding feature of Halloween is the carved pumpkin with a burning candle inside. People call it Jack-o-Lantern. Where does this object come from?

According to tradition there was an Irishman called Jack. He was a mean man, a brawler and a swindler, but was very crafty and when the Devil came twice to claim his soul, Jack deceived him both times and made the Devil concede him more time to live. Jack, however, had to die eventually and his soul was not admitted by Heaven because he had been a really mean man. So Jack’s soul went to Hell, but the Devil would not accept it either because he thus had promised. Therefore, Jack’s soul was doomed to wander in the darkness forever. Jack complained that in the darkness he would not see where he was going, so the Devil tossed him a burning piece of coal to light his way back. Jack put it into a turnip to protect the coal from the wind and he also ate from that turnip, that was magic and no matter how much Jack ate, the turnip would grow again. When the first Irish immigrants came into North America they found pumpkins, which were larger and easier to carve and gradually replaced the proverbial turnips.

I hope you enjoyed the narration and, since Halloween also characterizes by telling horror stores, what do you say if you write a horror story of your own…?

And now, I go back to my crypt, eagerly awaiting for your stories that I’m sure will make my skin tingle…

Daniel Yagolkowski

I FOUND HER AND NOW…

I won’t lose her or forget her.
Because she’s the love of my life.
Before, I was lost in the world, but now I found the love and I could say that now I’m the happiest person in the world.
I love her so much!!

Anonymous 2º4a

VISIT TO THE HOUSE OF ANNA FRANK HOUSE

The students of 2nd year 4th division went to visit the replica of Anna Frank House built here, in Buenos Aires, on October, Friday 9th, 2009.

Anna was a Jewish teenager who fled with her family from Nazi Germany to establish in Amsterdaam (Holland), country that also fell under Nazi occupation and, because of the persecution that totalitariaa régime did of Jews and other minorities it deemed to be inferior or dangerous, Anna, her family and another Jewish family went into hiding in a house located behind Anna’s father’s, Otto, factory, that he, who already knew what had happened to Jews in Germany, had secretly transformed into a hideout when Germany invaded Holland.

During her stay in that house, Anna wrote all her feelings, worries and thoughts in a diary her parents had given her a long time before. There are people who say that this very action, the gift of a diary instead of any other thing a girl her age might have wanted, is a true display of how Coincidence may play a crucial role in history, because had it not been for the diary (she called it “Kitty”, because she wrote on it treating it as if it were a human friend she gave that name), we would have never known of Anna Frank nor her testimony of the agony persecuted minorities –Jews, in this case- went through during one of the darkest periods of human history, plagued with violence and bloodshedding.

An anonymous call to the GESTAPO (Nazi secret police) gave away the hideout and all of its inhabitants were captured and sent to concentration camps were they died. From this part of history on, there comes into play another chain of coincidences that made young Anna, who had died to tifus in a concentration camp few months before the end of the War, transcended to us: when the GESTAPO party stormed into the hideout house they did not pay attention to the diary nor the additional papers where she wrote: had they realizad what were them about, they would have surely destroyed them. The next remarkable fact was that those papers were collected by an old and loyal employee of Anna`s father, who only noted they were the girl`s writings and simply wanted to keep them to return them to Anna when she came back, what never happened, but, once again, did not understand their importance. Finally, Anna’s father managed to survive and, when he got the papers, decided to comply with her daughter’s wish: as she always wanted to be a writer, Otto Frank published all the material under the title that Anna said, in her diary, she wanted for a novel she never got to write: The House in the Back, though now that text is known all over the world as Anna Frank’s Diary.

In her own candid way, Anna spoke to all of us; to all of you, teenagers, to make us aware of the dark and sinister side concealed in our hearts and minds and against which the sole weapon is to pay more attention to knowledge and feel more care and interest for our fellow humand beings. In short, to put into practice what the scholar Bar-Hillel answered when asked what was the Talmud about: “Treat your fellow people as you wish to be treated yourself. All of the rest is nothing but comments”.

And what do you, reader, think of all this?, why don’t you tell us abour your feelings and ideas? Thank you!

Daniel Yagolkowski

CONFLICT IN STORY WRITING

We have the characters of the story but, to make the story we need something to happen to those characters, we need a conflict…but, what is a conflict in story writing?

Let us illustrate with an example what conflict is not:
The Joneses are a nice family, composed by father, mother, their two children, Miles and Becky, and the dog, Turnip. Mr Jones is a university professor and his lectures are very interesting. Mrs Jones is a biologist and her investigations have made her to be nominated for a Nobel prize. Miles is a very good student and athlete and his sister, Becky, is also a very good student. The dog, Turnip, is friendly and playful…
OK, we already know that this a great family, but what happens to them? Their life seems to be a continued bliss, but we cannot see anything interesting here. This is nothing but an anecdote: a narration of what they do every day without any changes.

Now, let us look at this:
We have the same fantastic family, where everybody loves everybody, et cetera, et cetera… but one day, Becky informs them that she has a boyfriend (Aha, a new element into this gorgeous family!) and she tells them his name: Mark Robertson…the worst student in the university, always sloppy and notorious for having broken many a young girl heart!...

Now we have something that may be the germ of a story, for we have a turning point, a point where the Joneses’ life is likely to change or, at least, not to be the same after this event. These points are also called hinge points because, like door hinges, they make the story swing one way or other. When we have a hinge point it is because we have a conflict.
Conflict is, then, everything that opposes our hero (protagonist). The opposition may be another characters (antagonist) or even circumstances (fate, luck, a tornado, an invasion from another planet…). The important thing is that now our characters have to struggle against that opposing element to reach their objective: in our example, we had a happy family (the protagonists) and it has to confront a new situation, represented by Mark, who will probably (we still do not know what is likely to happen) represents the antagonist to this family, because he seems to oppose everything that is good for them. His presence, then, may be the germ of a story, because here the Joneses way of life would be altered, and in a way we still do not know.

On the basis of the aforementioned example, you will now have some others where we see the hinge point: your job is to propose how the story may continue from that hinge point.

a) Mr Barrymore lives alone; he never married and his life has been quiet, relaxed and rather monotonous. Every day, including weekends, he wakes up, takes a fifteen-minute shower, prepares his breakfast (scrambled eggs, toast, butter, fruit salad and strong coffee and milk), glimpses the newspaper and wears one of his four grey suits to go out. Today, however, the doorbell rings: the postman brought a letter, a strange letter: it is addressed to Mr Robert Jones, but has no sender and the stamp is very weird, like no stamp Mr Jones had seen before…

b) Karen is secretly in love with her neighbor, Robert Stevens, but she is very shy and is convinced that such a handsome young man will never pay attention to her; she does not even dare to exchange ordinary greetings with him (Good morning, good afternoon…). One morning, when they are coming down in the elevator, a sudden blackout leaves Karen and Robert stranded at the fourth floor. The superintendent informs them that he already called the firefighters to take them out, but they will have to stay in the elevator for an hour at least…
Hope to see your production soon! Until then, good bye!

Daniel Yagolkowski

TECHNIQUES FOR FICTION WRITING

When we write a story, novel or screenplay we are telling what happens to somebody, and what that somebody does in response to what is happening to him.

That somebody who reacts to or does or not does something, is the character of our story, novel or script (in general, our fiction writing).

It is necessary that we know perfectly well our character; in other words, that we create a biography for that character, because even when we may not say it, if we know the history of that character, we are going to write a story that is logical and plausible. E.G.: if we know that our character –let’s call him John- studied medicine several years ago, it will be perfectly logical that, in the event of an accident, he will know how to treat or, at least, help the wounded.

EXERCISE
Take any person you see (preferably, a stranger) and invent a whole biography for that person (a person traveling on the bus we are traveling on, a person you see in a theater, a restaurant…). I said not acquaintances (relatives, friends) because you may know that person very well and overlook important information). Once you have chosen the person, write a biography, from the moment of birth up to the present, putting all the information that is relevant: family, friends, relations with them, tastes, studies, illnesses…. Write the biography in not more than a page (about 300 words) and HAVE IT READY TO BRING IT THE OCTOBER 5TH CLASS: I AM GOING TO CORRECT YOUR BIOGRAPHIES, SCORE THEM AND THE BEST WILL BE PUBLISHED AND USED AS SEEDS FOR A STORY OR SCRIPT.

Use your dictionaries freely.

Until the next note, then!

Daniel Yagolkowski
Teacher

HEMINGWAY AND GARCÍA LORCA´S DUENDE

Duende is a Spanish word meaning a fairy creature and people use the word with that meaning: “A house full of duendes”, for instance. But it also has another meaning for Spanish folklore: it is the spirit, the soul an artist must have, especially a music artist; in the case of flamenco dance, tener duende (to have duende) means to have true emotion, expression and authenticity to feel and transmit the power of flamenco.
In 1933, in a lecture he gave in Buenos Aires, Federico García Lorca explained the elements Duende had for him: irrationality, a bit of the diabolical, an acute sense of death and love of wordly things. The Duende is then, according to Lorca, an alternative to style, to natural virtuosism and charm given by God and is, instead, a kind of force that seizes the artist and makes him give the best of his performance; when the Duende is in action, that same force traps the audience, thus creating conditions to understand spontaneously art with no conscious effort. If you are interested in learning more on the subject, García Lorca’s lecture name is “Juego y Teoría del Duende”.
Some twenty years later, Ernest Hemingway, a famous American writer, was greatly influenced by Spain; among the important influences he received from Spain was García Lorca’s.
It is a known fact that Hemingway had many books of the Spanish writer and also that Hemingway was well aware of details on García Lorca: in his book The Dangerous Summer, about the rivalry between two real famous bullfighters in 1959 Spain, Hemingway comments that while traveling from Pamplona to Granada “... coming down out of the hills...the entry to the ravine where thay had shot Federico García Lorca”. Obviously, Hemingway not only knew of García Lorca but was impressed by the Spanish poet’s death.

Hemingway also had an understanding of the Duende: in a 1962 letter he commented that it was a mistake to read García Lorca to learn Spanish because “if you do not know the dissonances of (Andalusian) music or if you do not know Arabic,(García Lorca’s poetry) is meaningless”. From this we understand that Hemingway did know Andalusian music (flamenco and cante jondo) and the meaning that that music had in the Spanish writer’s poetry: what García Lorca called Duende.
And we may add that maybe that Duende, with its tragic concept of life, also took both men to a violent and untimely death, García Lorca’s by shooting; Hemingway’s, by suicide.

Daniel Ricardo Yagolkowski
English teacher
Especially for El Duende Bilingüe, 2009

A LITTLE CHICKEN NAMED LITO

Many years ago, a chicken named Lito was living with his family. Every day, the mother hen went out with her chicks. She went at the front and the chicks followed. Lito was always the last of the line.

One day he saw something moving in the grass. He was amazed at what he saw: it was a small worm.

Mother hen and Lito`s brothers and sisters were already far away. When Lito saw this, he began to cry:
‘Pee, pee, pee!
‘What’s wrong?’, asked the worm
‘My mom and siblings are gone and I’m lost.’
‘Don’t worry, buddy. We’ll find them’, the worm said.
‘Let’s go, let’s go!’ said both of them.
Along the way they found a cat, who asked:
‘Meow, where are you two going?’
‘To find my mom and my siblings. I’m lost!’, answered Lito.
‘I’ll go with you to find them’, said the cat.
‘Let’s go, let’s go!’, said all in unidon.

Soon they met a dog:
‘Arf, where are you going?’, asked the dog.
‘To find my mom and my siblings.I’m lost!’, said Lito.
Let’s go, let’s go!’, said the four friends in unison.

And the dog, the cat, the worm and Lito walked and walked looking for Mother hen.

‘Lito, Lito, where are you?’ shouted Mother hen from afar.
‘It’s me, Mommy!’, Lito exclaimed.

All were very happy. Finally they had found the mother hen. All of them hugged each other and laughed with happiness.

‘Thank you for taking care of my son. I invite you all to my house to eat cake?, said the mother hen.
‘Let’s go, let’s go!’ everybody said.

Ailén Acebey
2º 4ª

Muzzy Comes Back Vol. 1 -Cursos: 1ro y 2do

LOOK AT THE PICTURE AND ANSWER.
1) Is Muzzy an alien?
2) What color is he?
3) Where is he going?
4) What does Norman have?
5) What is the country name?
6) What is the Princess name?
7) What time is the Party?
8) Is Muzzy late or early? Why?
9) What is Corvax doing?
10) Where is he?
11) Who comes to help Corvax?
12)What does Norman give his girlfriend?

LOOK AT THE TIMES. SAY THEM IN WORDS, AS IN THE PICTURE
a) 10:30
b) 9:45
c) 7:10
e) 5:30
f) 8:00

The Day the Earth stood still Parte 1 -Curso: 3ro

FROM THE PART ONE OF “THE DAY THE EARTH STOOD STILL” (1951), ANSWER: (do not forget to use a dictionary if you need it)
1. What speed the flying saucer was traveling at:
a) 400 miles an hour
b) 4,000 miles an hour
c) 4,000 kilometers an hour
2. What country did the first radio speaker belong to?
3. The spaceship landed in United States… but in what city?
a) New York
b) Washington
c) Chicago
4. How many world radios informed about the coming of the spaceship?
5. What season is it:
a) Spring
b) Summer
c) Winter
6. What was shouting the an running in the street?
7. How many black women were among the crowd watching the saucer?
8. When the saucer landed, a military officer calls
a) The President of United States
b) The Chief of Staff
c) The Secretary of Defense
9. What was the name of the reporter who was wearing a hat:?
a) Dough Pearson
b) Drew Pearson
c) Don Pearson
10. What happened two hours after the spaceship landed?
a) A ramp came out from the spaceship
b) The spaceship made a strange noise
c) The spaceship started to glow
11. What were the first words the alien said when he came out from his spaceship?

Donald Duck Noah's Ark

To do this exercise use a bilingual dictionary and a Spanish dictionary

ANSWER THE FOLLOWING QUESTIONS:

a) What animal calls the others at the beginning of the cartoon?

b) Why the two frogs in the pond jump?

c) What is the wolf going to do to the rabbit?

d) What is Noah looking at when the animals come to the Ark?

e) Noah comes down from the Ark because:
i) he forgot an animal;
ii) he went for Donald Duck;
iii) he went to eat something.

f) When Noah finds Donald, Donald is:
i) reading a book
ii) having a drink on a hammock
iii) preparing a suitcase

g) Noah went for Donald because
i) The Déluge was coming
ii) Donald was the cook
iii) Donald had to call the animals

h) Why Donald did not believe Noak?

i) Daisy was wearing a
i) a necklace
ii) a locket
iii) a whistle

j) Why did she give Donald a handkerchief?

k) When Donald told the animals to go into the Ark, did they accept Donald's order? When did they accept it?

l) In your words, tell why Donald and Daisy were sad

k) What happened at the end with Donald and Daisy?