Simple Conjugations for the French Verb Baigner

In French,  baigner  means to bathe someone else. Its used in a different context than  laver  (to wash)  and  mouiller  (to wet, drench). For instance, you would use  baigner le chien when you want to say to bathe the dog. This is a rather useful verb to learn and conjugating it to the present, past, and future tenses is relatively easy. The following lesson will guide you through the many forms of  baigner. Conjugating the French Verb  Baigner First of all, the pronunciation of  baigner  is not [bag-ner] as the GN creates a softer sound. You can hear it  in  champagne  and  une  baignoire  (bathtub). Once you get the pronunciation correct, youll be happy to know that the conjugations of baigner follow the pattern of a  regular -ER verb. This means that if you can conjugate common verbs like  adorer  (to adore)  and  dà ©clarer (to declare), you can use those same endings in these verb forms. To do this, simply pair the subject pronoun with the appropriate tense needed for your sentence. For instance, I bathe is je baigne and we will bathe is nous baignerons. Subject Present Future Imperfect je baigne baignerai baignais tu baignes baigneras baignais il baigne baignera baignait nous baignons baignerons baignions vous baignez baignerez baigniez ils baignent baigneront baignaient What is the Present Participle of  Baigner The  present participle  of baigner  is  baignant. Notice how this transformation is done by replacing the -er  ending with -ant, which is equivalent to the English -ing. Baigners Past Participle and Passà © Composà © The  past participle  of this verb is baignà ©. It is used along with an  auxiliary verb  to create the common past tense of  passà © composà ©. The auxiliary verb  avoir  needs to be conjugated, though the past participle remains the same no matter which subject pronoun you use. As an example, I bathed is jai baignà ©. Similarly, we bathed is nous avons baignà ©. More Useful Conjugations of  Baigner There are a few other verb forms you may need from time to time. Of these, the subjunctive and conditional are most common and each implies a level of uncertainty to the action. For the conditional, the action of bathing may or may not happen depending on the circumstances. You may not use or see the passà © simple or the imperfect subjunctive very often. These are often reserved for formal French writing, though you should be able to recognize their association with  baigner. Subject Subjunctive Conditional Passà © Simple Imperfect Subjunctive je baigne baignerais baignai baignasse tu baignes baignerais baignas baignasses il baigne baignerait baigna baignà ¢t nous baignions baignerions baignà ¢mes baignassions vous baigniez baigneriez baignà ¢tes baignassiez ils baignent baigneraient baignà ¨rent baignassent One last conjugation is important to note for  baigner. The imperative is used in direct requests and demands and there is no need to use the subject pronoun. For these instances, simplify nous baignons to baignons. Imperative (tu) baigne (nous) baignons (vous) baignez

The Problem Of Sexual Harassment Complaints By Hr Departments

statement of the problem Dozens of women are faced daily with situations of sexual harassment, ranging from humiliation to physical attacks that lead to silence for fear of losing their jobs, or feelings of guilt believing that it is they who caused the situation, only because they are women in a workforce dominated by men. I think we can all agree on that when you experience sexual harassment, you feel bad, and wonder why. Low self-esteem and feelings of guilt are situations that we never expect when we are in a job. Audience Students of UST 630 Focus of the research I will look in literature current policy and practices not only at county level but other levels of government as well. I will take a look at the lack of support and follow up on sexual harassment complaints by HR departments. I will examine the policies and recommend ways to improve it. 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What is The Effect of Sociological Factors to Artist Life Free Essays

string(125) " of the Arts and Pam Broad introduced him to literature, poetry and art as abstract, which Klippel became later involved in\." A French philosopher and writer, Pierre Bourdieu ( Bourdieu et al. 1990) claims that sociological factors such as education, family background, cultural development of an individual as well as one†s belonging to a specific social class, plays a vital part in interpretation and participation in the Arts. In order to evaluate this argument and make any logical conclusions, it must therefore be examined through evidence which in this case will be referring to an Australian artist, Robert Klippel. We will write a custom essay sample on What is The Effect of Sociological Factors to Artist Life or any similar topic only for you Order Now Every artist†s career has a ‘shape† or a development which tends to be greatly affected by sociological factors which influence the life of that artist†. (Hughes 1964: 2). Robert Klippel†s career ‘shape† was also a subject to formation which was promoted by factors such as education, family upbringing and background as well as the outer and inner environments which affected the life development of the artist. It is thus essential to consider these factors as they influenced and formatted Klippel†s artistic vocation and career. Robert Klippel was born in Sydney, 19 of June 1920, in a middle class family and became the econd in a family of three sons. His father had emigrated from Poland in 1904 and ran a successful business importing and distributing clothing and textiles. His mother, of English background, had been brought up in ‘English fashion†, educated well and expected to devote herself to marriage and the family. Klippel†s father attended university where he studied philosophy and took an Art theory course. During university years, he developed an interest in the Arts. From time to time he would visit an Art gallery or buy an expensive classical painting. Robert Klippel†s, mother had a passion for classical music and would often visit the opera. However, at that time Robert Klippel had little interest in education in the Arts and was not affected by the artistic family environment around him. Although, Klippel†s parents were educated well, Robert Klippel and his brothers were not encouraged to learn or participate in the arts as Klippel†s parents thought that their children should go ‘their own ways†, it could even be said that they were brought up by the ‘a light hand†- always given opportunities to make their own choices and decisions in life. When referring back to Bourdieu and his argument, it could be argued that even though Klippel†s parents were educated well and may have had a reasonable understanding of the arts, they would not be one â€Å"of refined classification† and certainly would â€Å"lack a mastered degree of artistic competence†(Bourdieu et al. 1990:42) as they could not fully value the importance of education and pass on to their children. However this idea may not apply in this case, as Robert Klippel himself was not affected by his family†s level of education and from the yearly years led an independent lifestyle. Particularly during his youth, Klippel had little interest in any sort of education and with little direction from his parents, he preferred to work on the mill, spent little time doing his school work and became used to fail many examinations. At one time, Klippel even thought that his life was doomed to be a ‘failure†. Klippel†s family was quite financially stable and all the three sons attended secondary school including Klippel himself, who had a careless approach towards education and found that it was not for him. In fact he did not receive any art education or learn much of what he later became interested in. He describes his school years being: ‘uneventful and a waste of time†(Gleeson 1983 :4). However it was during his early schoo years that Klipple developed a passion for sculpture. Robert Klippel†s early life was mostly spent around Sydney Harbour where lived and first became fascinated with ships and boat models. As a young boy, Klippel began making miniature model ships that he often saw on the harbour or in books. An obsessive commitment to model making lasted almost eighteen years which later led to becoming a sculptor. Klippel entered the navy during WWII, where he obtained a job as a model maker. Between 1943 and 1945 he produced many military vessels and aircraft models. The skills developed during this period were vital for Klippel as a sculptor; â€Å"he gained knowledge of volume, mass, proportion and structural detail†(Scarlett 1980: 9). Above all, he acquired a strong desire to find out how things worked which further helped him with his creative process. Klippel obtained some practical skills to be used in his artworks but when referring back to Bourdieu, he had no knowledge of ‘artistic principles† or understanding of theoretical Arts and thus had no ‘means of appropriating works of art†. This also reflected that Klippel had a lack of artistic ideas and inspirations to produce his works although he had a strong desire to make sculptures. â€Å"At twenty-four Klippel was still largely unconcerned with the difference between art and craft: he simply did not care about it and had never visited a gallery†(Hughes 1964:12) Klippel was not exposed to any higher education and he finished high-school with poor grades as he spent most of the time working with wool. He took a wool classing course in 1937 with the support of his father who thought that Klippel would be working with wool as he did not see any other pportunities for his son. However, Klippel himself decided to no longer work with wool and to devote more time to his sculptures as he discovered his passion for Art. The year of 1943 became a turning point for Klippel, as he met a friend Pam Broad, who was a poet and an intellectual, and encouraged Klippel to take up a wood-carving course which taught him how to develop his own designs and models. Pam Broad was appreciative of Klippel†s skill but criticised his lack of originality and knowledge of art. Klippel realised that in order to become a sculptor he would eed to have certain knowledge of the Arts and Pam Broad introduced him to literature, poetry and art as abstract, which Klippel became later involved in. You read "What is The Effect of Sociological Factors to Artist Life" in category "Papers" Robert Klippel gradually began to gain artistic appreciation and knowledge of Art and he also found the critical difference between art and craft. Klippel realised that he could now interpret and produce artworks and meanings in ways that before were unknown to him and as Bourdieu states: â€Å"interpretation†¦ is always constituted by the learning ability †¦ in other words discovering meaning using our literary knowledge† (Bourdieu et al. 1990). Klippel put aside his models and began to read and study art books to gain knowledge about art. Pam Broad introduced him to the work of Brzeska, and he read books on Henry Moore and Roger Fly; â€Å"The intellectual discovery of art as a creative pursuit awakened a passion he hardly knew existed†(Watters Gallery 1970:3). By 1945 Klippel has decided that art would be his vocation and that he would become a sculptor. In 1946 he enrolled full time at the East Sydney Technical College to study antique drawing, life modelling and sculpture. During this time Klippel became inspired by nature which became a source of ideas for the sculptor and he noted n his diary that: â€Å"Thinking a lot about nature and its workings, I believe and artist should, when creating, undergo a similar process which occurs when nature creates†(Gleeson1983:4). Although not having received ‘complete† education, Robert Klippel was able to use his skills to produce his models and he found that the knowledge he received himself and with the help of others was extremely useful for his art creation. Referring back to Bourdiue, who stressed the importance of learning and defined the idea of education as â€Å"having a complex code†, which refers to sophistication and ability to distinguish a ork of art in a more refined way, it could be noted that Klippel has gradually achieved this ability through self-education and continuos learning throughout his career. However here the theory of sophistication, family education could not apply as Klippel did not achieve high level of education and obtained valuable qualifications but instead gained self-knowledge which was not perhaps one of ‘fine refinement† but which provided him with a stable base to develop his career. It could be considered that Bourdieu†s theory of education does apply to those with a enuine interest in the Arts and to those who wish to gain precise knowledge of the Arts. Klippel himself realised that his self-discovery of new visions and ideas as well as artistic knowledge helped him with his artistic development. Klippel further developed an interest in abstract art and decided to move to London where he commenced his studies at Slade School of Art. Here he developed his skills as a draftsman, â€Å"which he felt were sorely lacking† (Sturgeon 1978:15). For six months at the Slade School Klippel led a double life. On one hand, he did his formal studies, which he â€Å"hated and found rrelevant† (Scarlett 1980:6), on the other hand, he pursued an independent self-development course in which he concentrated on studying abstract art derived from nature. Learning in Klippel†s opinion was not always a constant necessity and brought use to his work, unlike Bourdieu claims that learning at school and university is essential to develop not only the knowledge but also have access to ‘appropriate culture†. Klippel disregarded culture and education as a means of achieving success but to him art was about self-expression combined with the required artistic knowledge. In 1945 Klippel has constructed the largest and most important of his sculptures and since then he decided to work alone and to no longer have a formal education. An Australian surrealist painter, James Gleeson became a vital individual who influenced Klippel†s career development, he encouraged Klippel to leave Slade School and to work on his own. Gleeson introduced Klippel to surrealism and organised Klippel†s first exhibition in London which they shared together. Klippel found that he had developed an obsession to make art that stemmed from his own life and reflected the world around him as he wrote: â€Å"The artist can show a new world, if he ees and feels enough†( Hughes1964:9). During this period Klippel became financially unstable as the support coming from his father was at an end, as Klippel†s father strongly believed that his children should be able to support themselves in their adult life. Klippel went through a particularly difficult psychological period feeling unstable both emotionally and financially when he could not sell any of his sculptures. Klippel†s works were often rejected as they often classified as ‘self-reflection works† which often reflected the emotional and problematic side of the artist. Klippel was also under pressure from his family, particularly his brothers who had a successful wool business and who financially aided Klippel as he could not provide for himself. Klippel travelled to Paris in hope of selling his works and spent a few months there creating more sculptures relating to nature. He found a studio where he worked and was able to diverse the scope of his ideas so that his works would have a wider meaning and perhaps more people could find appreciation in his works. While living in Paris, Robert Klippel married an American artist, Nina Mermey and decided to travel to New York with her, which he later realised was wasted time† as he could not find any workshops or studios to work in. Again here he was bound to make money on his work but not having achieved that Klippel returned to Sydney. Klippel†s path here was now open to any direction and James Gleeson introduced him to a more comprehensive surrealism which Klippel wished to explore. He re-married in Sydney and in 1966 he established his first workshop. For the first time, his works became appreciated by a large number of artists and art critics. The financial situation became better as some of Klippel†s sculptures were sold. With James Gleeson, another exhibition was held which presented painted landscape by Gleeson occupied by Klippel†s metal objects, it achieved a wide recognition by many fellow artists and the public for the first time. Robert Klippel had many more exhibitions and finally achieved the success he has been striving for since youth. However when looking back at Bourdieu and his theories, it is worth to consider the effect class and position in society had on the artists overall recognition. Bourdieu associates upper class as having â€Å"good taste† as those from higher classes usually relate themselves with an academic institution† and may relate to the Arts, rather then those from lower classes tend to have little or no understanding of Art and in conclusion have no taste, he also relates class to culture, the higher the class the more cultured an individual could be. This view can partially describe Robert Klippel†s life as he comes from a well educated and culturally developed family but not belonging to an ‘academic institution† as described by Bourdieu. Klippel was fairly distant from any art education during his youth and did not attend university while he did poorly at school. Perhaps the lack of direction from his parents and lack of his desire for education resulted in some instability experienced later in his life. Perhaps as a result of that, Klippel had trouble finding a place in the society as an artist as he often felt ‘out of place† with his artistic ideas which for a long period of time received no appreciation. According to Bourdieu, Klippel†s art and his life would be a result of his family social position and cultural atmosphere as well as his own academic achievements. It could be agreed that these factors have had an influence on the artist†s life to some extent. Klippel had few minor cademic achievements compared to his brothers and mostly spent time doing agricultural work. Klippel†s parents exposed their children to art and classical music as they thought that right cultural upbringing was essential to achieve social recognition and success, however, they saw that Robert Klippel had little interest in education and had no hope for him to achieve any academic success, so they allowed him to work on the mill and later with wool. This family upbringing affected Klippel†s life and resulted in his struggle to achieve success and later Klippel himself understood the importance of education and cultural upbringing to achieve Robert Klippel once said that: â€Å"true art arises from inner spiritual necessity and an ability to follow one†s own convictions†. Robert Klippel is known today as one of Australia†s leading assemblage sculptors, he has created an innovative and extensive body of three-dimensional works over a fifty year period. For a long of time, Klippel was not recognised as an artist and he underwent a difficult psychological period throughout the development of his career. However, gradually, Klippel began to understand the influence various sociological factors had on his life. He resumed his studies of Art, tried to market his own works to gain finance and finally became aware of what ‘it takes† to achieve success and recognition. One therefore, after examining the career of the artist, can never wonder as to why so many of Robert Klippel†s works are often a reflection of his own life and his long struggle to overcome the many barriers that he faced as Thus, in conclusion it would be faire to agree with Bourdieu†s views that sociological factors such family background, education, class and social position, have an influence on one†s interpretation and participation in the Arts. How to cite What is The Effect of Sociological Factors to Artist Life, Papers

Attraction & Event Management-Samples for Students Myassignment

Question: Discuss about the role of events and attractions within the Tourism and Hospitality Industry. Answer: All societies perform several festivities, rituals and public celebrations. It gives a feeling of togetherness and also it is seen as unique and destination image makers which helps in attracting the tourists. Festivals and events act as a catalyst which attracts the tourists, increasing their number (Yeoman et al. 2012). This essay mainly focuses on a particular event called Noche de Brujas or Night of the Witches - a three day celebration of the supernatural, which is held in Catemaco, Mexico on the first Friday of March. The event is one of the most original events. The streets become dark, as if spirits, witches, ghosts and demons have visited the place. The whole of Mexico is set up in a horror theme which draws the attention of a huge number of audiences. The specific objectives of the essay is to illustrate the type of the event, giving equal attention to its dimension and associated attractions, content, location, size, budget considerations, number of participants and the event stakeholders. Catemaco, a city in Mexico, is known as the Capital of Witchcraft, where one can easily get a cure for any curse or one can hire a witch to perform a curse on someone he/she dislikes. This tradition goes back to centuries, mixing several ancient beliefs and traditions and also voodoo practices. The concept of a witchcraft convention, hosted by a Bruja or a Shaman, began in the year 1970 (Pardo 2012). The concept of the event got stuck and now each year thousands of witches, wizards, healers, shamans and brujas from all parts of Mexico, perform a mass cleansing ceremony to get rid of their sins and last years negative energies. Magicians, fortune tellers, shamans, witches and prophets roam around the charming streets of Catemaco, Mexico. They perform supernatural things and give advises to the ones who contribute few pesos. The first weekend is marked with special ceremonies and gala events (Gonzalez-Paraiso 2014). Large number of tourists visit the place in order to get a glimpse of such other worldly event. There are several live music and dance performances which entertain the tourists all day long. Stalls are set up at various places, which sell amulets, trinkets, magical potions, healers and other kinds of spiritual items. If someone is willing to invest a little more then he/she can watch the black magic ceremony. Shamans are considered to be the most powerful ones to perform mass purification and the time after the event gets over is considered to be favorable. Serious worshippers of Dark Arts are offended with the people who have set up fake business to fool the tourists (Pardo 2012). The event has become more commercial, as the number of tourist heads is increasing every year. The budget is around 300,000 dollars approximately. The brujas offer a wide range of services to the visitors like card reading, advices, fortune telling and herbal remedies. Adventurous tourists get involved into the fun of the event Noche de Brujas, some witness the mass cleansing ceremony and others dare to take part in it (Yeoman et al. 2012). In the Vera Cruz region, the adventurers will find great mystery and diversity surrounding the lake side town. The mountains, green coastal plains and forests are full of ancient flavor which not only excites the tourists but also such experiences can send chills up someones spine. Moreover there is a mystical lake for boating, swimming and enjoying the natural beauty of the place. In the center of the wide six mile lake there are number of islands, one of those locally known as Monkey Island, which is named after a number of monkeys who had been imported there from Thailand, for scientific study (Martinez et al. 2017). Apart than these, there are small villages in the remote areas, lush tropical rain forest for experiencing rich tropics and unspoiled beaches. Tourists can take a mineral mud spa or have a spiritual way of cleansing in the rain forest of Reserva Ecolologica de Naciyaga (Everfest.com. 2017). The Noche de Brujas event brings in huge sum of money to the countrys economy. Over five thousand visitors, including rich and famous businessmen to national level politicians attends the event in the hope of getting cleansed from previous years sins and negative energies (Hawkes 2017). People dance, sing and enjoy the three daylong events, which brings refreshment to their daily work life. Tourists from different parts of the world attend the event for its uniqueness. This is because it is not promoted as a part of Halloween. It brings about three million pesos to the local economy, which is beneficial for the people of the country (Martinez et al. 2017). The event stakeholders are the hotel owners, residents, tourism managers, local council, stall owners and others who make huge business in this event. Huge number of tourists visits Catemaco at this time of the year. Hotel owners make huge profit by offering accommodation. Moreover, they buy several things from the stalls set up in the event, which helps the local owners earn money. Dark Arts practitioners earn a lot, as some tourists take part in the mass cleansing ceremony to experience the event (Lonelyplanet.com 2017). To conclude, the city of Catemaco is a strangely beautiful place. One can sense the strange and mythical atmosphere in every nook and corner of the place. Supercharged with superstitious beliefs and thick tropical air, this city is attractive in nature. March is the perfect time to travel to this magical part of the world, to witness the annual celebration of the place, that is, Noche de Brujas or Night of the Witches. Rich in great diversity and mystery, this place has loads to discover and for all the adventure lovers out there, missing this places supernatural aspects would be a great loss. References Everfest.com. (2017).Noche de Brujas 2018 in Catemaco, Mexico | Everfest. [online] Available at: https://www.everfest.com/e/noche-de-brujas-catemaco-mexico [Accessed 7 Aug. 2017]. Gonzalez-Paraiso, R., 2014.Re-contextualizing Traditions: The Performance of Identity in Festivals of Huasteco, Jarocho, and Terracalenteno Sones in Mexico(Doctoral dissertation, The University of Wisconsin-Madison). Hawkes, L. (2017).The Noche de Brujas Festival in Catemaco Mexico. [online] Mexicolesstraveled.com. Available at: https://mexicolesstraveled.com/witchfest.htm [Accessed 7 Aug. 2017]. Lonelyplanet.com (2017).Noche de Brujas: a guide to Mexicos Night of the Witches. [online] Lonely Planet. Available at: https://www.lonelyplanet.com/mexico/central-gulf-coast/catemaco/travel-tips-and-articles/noche-de-brujas-a-guide-to-mexicos-night-of-the-witches/40625c8c-8a11-5710-a052-1479d2772267 [Accessed 7 Aug. 2017]. Martinez, M.L., Silva, R., Lithgow, D., Mendoza, E., Flores, P., Martnez, R. and Cruz, C., 2017. Human impact on coastal resilience along the coast of Veracruz, Mexico.Journal of Coastal Research,77(sp1), pp.143-153. Pardo, O.F., 2012. The Spectacular City, Mexico, and Colonial Hispanic Culture.Revista Hispnica Moderna,65(2), pp.243-244. Yeoman, I., Robertson, M., Ali-Knight, J., Drummond, S. and McMahon-Beattie, U. eds., 2012.Festival and events management. Routledge.