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Vvelo!

Beginning Spanish

Dolly J. YoungThe University of Tennessee

Jane E. BerneThe University of North Dakota

Pablo MuirheadMilwaukee Area Technical College

Claudia MontoyaMidwestern State University

John Wiley & Sons, Inc.

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VICE PRESIDENT AND EXECUTIVE PUBLISHER Jay OCallaghanDIRECTOR, MODERN LANGUAGES Magali IglesiasSENIOR DEVELOPMENTAL EDITOR Elena HerreroPROJECT EDITOR Glenn A. WilsonASSOCIATE DIRECTOR OF MARKETING Jeffrey RuckerMARKETING MANAGER Tiziana AimeMARKET SPECIALIST Elena CasillasASSOCIATE EDITOR Maruja MalavSENIOR PRODUCTION EDITOR William A. MurrayEDITORIAL PROGRAM ASSISTANT Lisha PerezSENIOR PHOTO EDITOR Jennifer MacMillanSENIOR ILLUSTRATION EDITOR Anna MelhornSENIOR MEDIA EDITOR Lynn PearlmanMEDIA PROJECT MANAGER Margarita ValdezCREATIVE DIRECTOR Harry NolanCOVER DESIGN Jim OSheaPHOTO MONTAGE Norm ChristiansenCOVER IMAGES (left to right) Jeremy Woodhouse/Age Fotostock America, Inc.; Nick

Dolding/Taxi/Getty Images, Inc.; Emilio Ereza/Age Fotostock America, Inc.; Andy Sotiriou/Age Fotostock America, Inc.; Brand X Pictures/Getty Images, Inc.; Fan: Wiley Archive

This book was set in Berthold Baskerville by Curriculum Concepts International and printed and bound by Courier/Kendallville.

Copyright 2011 John Wiley & Sons, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 (Web site: www.copyright.com). Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, (201) 748-6011, fax (201) 748-6008, or online at: www.wiley.com/go/permissions.

Evaluation copies are provided to qualified academics and professionals for review purposes only, for use in their courses during the next academic year. These copies are licensed and may not be sold or transferred to a third party. Upon completion of the review period, please return the evaluation copy to Wiley. Return instructions and a free of charge return shipping label are available at: www.wiley.com/go/returnlabel. Outside of the United States, please contact your local representative.

ISBN: 978-0-471-72776-7BRV ISBN: 978-0-470-55649-8

Printed in the United States of America

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I grew up in Puebla, Mexico, listening to the old bolero records my parents loved to play and enjoying the diverse cuisine of Mexicos central area. Multiple trips from north to south and east to west in Mexico taught me much about the ethnic and cultural diversity contained within just one country. It is my hope that all students using this book will acquire a true interest in the cultural diversity of the Spanish-speaking world.

I studied my bachelors degree in Linguistics and Hispanic Literature in Mexico, and years later completed my graduate studies in the United States. Although the main focus of my studies was Latin American literature, through my nearly 20 years of teaching experience I have always understood the critical importance of the first years in the process of learning a second language and the vital role of early positive cultural experiences. It is for this reason that I enthusiastically agreed to help author this book.

I want to dedicate my efforts to my teacher Gloria and my friends Anglica and Tesha.

I was born in Arequipa, Peru to parents who instilled a sense of pride in my cultural roots. They did so by maintaining Spanish at home in the U.S. and making sure we spent extensive time at home in Peru, just like my wife and I do with our two children. This passion for languages and cultures has led me to spend extensive time in various parts of the Spanish-speaking world as well as to live in Germany and Indonesia. I have taught Spanish from the college to the middle school levels, experiences which led me to complete a doctorate in education at the University of Wisconsin-Milwaukee.

First and foremost, I am a classroom teacher passionate about bridging the often elusive gap between theory and practice. I teach at Milwaukee Area Technical College, where I thoroughly enjoy creating a connected community of learners on the path toward linguistic and cultural proficiency. Secondly, I am passionate about my research which has led me to explore the inextricable link between language and culture. This connection comes alive in Vvelo!, a text born from Dolly Youngs vision, and one I was excited to embrace.

Dedico este libro a Jackie y a nuestros hijos Santiago y Gabriela y a mis padres, Richard e Isabel. Los quiero muchsimo.

I was born in Austin, Texas and embrace the deep cultural roots that bind me to my bilingual and bicultural upbringing. I was inspired to teach by my high school Spanish teacher. I majored in Spanish and then Latin American Studies at the University of Texas and then taught in a Bilingual Education junior high program where I taught Texas History, ESL and Reading. This began my journey into materials development and sparked my interest in how languages are learned and culture is experienced by adult learners. Having also tasted French and Portuguese, my love of learning took me back to the University of Texas to obtain a Ph.D. in FLE with a concentration in Spanish Applied Linguistics, and later to study-abroad experiences in Portugal, France, Spain and Mexico. I aspire to create bridges between and among cultures, and between research and practice. This textbook privileges cultural aspects of language learning informed by SLA research and theory and represents my commitment to beginning language learners. After all, that is where we create life-long learners and lovers of Spanish.

I dedicate this book to mother Gloria and my son Philip, who was consistently understanding and supportive during the many years it took to write this book.

I fell in love with Spanish from the moment I began studying it in high school. My passion for the Spanish language and for the cultures that live it has followed me throughout my career and my life. I was born in Minneapolis, MN and raised in Eden Prairie, MN. After studying Spanish for four years in high school, I spent a year in Tehuacn, Puebla, Mexico as a participant in a Rotary Club youth exchange program. Upon my return to the U.S., I enrolled at Carleton College in Northfield, MN, where I majored in Spanish. While at Carleton, I had the opportunity to spend a semester studying in Crdoba, Spain. When I graduated from Carleton, I taught Spanish at St. Stephens Episcopal School in Austin, TX for three years. I then pursued graduate studies in Spanish at the University of Illinois at Urbana-Champaign, where I received both MA and PhD degrees in Spanish Applied Linguistics. Since 1992 I have taught a variety of Spanish courses at all levels at the University of North Dakota in Grand Forks, ND. For me, the opportunity to share my love of Spanish with my students and watch their language skills develop is very fulfilling. This book, Vvelo, is the culmination of more than 20 years working with adult learners of Spanish.

I am pleased and proud to dedicate it to my parents, Donald and Harriet Berne.

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bilingual and bicultural upbringing. I was inspired to teach by my high school Spanish teacher. I majored in Spanish and then Latin American Studies at the University of Texas and then taught in a Bilingual Education junior high program where I taught Texas History, ESL and Reading. This began my journey into materials development and sparked my interest in how languages are learned and culture is experienced by adult learners. Having also tasted French and Portuguese, my love of learning took me back to the University of Texas to obtain a Ph.D. in FLE with a concentration in Spanish Applied Linguistics, and later to study-abroad experiences in Portugal, France, Spain and Mexico. I aspire to create bridges between and among cultures, and between research and practice. This textbook privileges cultural aspects of language learning informed by SLA research and theory and represents my commitment to beginning language learners. After all, that is where we create life-long learners and lovers of Spanish.

Dolly Jesusita Young

Jane E. Berne

They did so by maintaining Spanish at home in the U.S. and making sure we spent extensive time at home in Peru, just like my wife and I do with our two children. This passion for languages and cultures has led me to spend extensive time in various parts of the Spanish-speaking world as well as to live in Germany and Indonesia. I have taught Spanish from the college to the middle school levels, experiences which led me to complete a doctorate in education at the University of Wisconsin-Milwaukee.

gap between theory and practice. I teach at Milwaukee Area Technical College, where I thoroughly enjoy creating a connected community of learners on the path toward linguistic and cultural proficiency. Secondly, I am passionate about my research which has led me to explore the inextricable link between language and culture. This connection comes alive in Vvelo!

Pablo Muirhead

Claudia Montoya

ABoUT THE AUTHoRS

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The Vvelo! authors gratefully acknowledge the contributions of the many individuals who were instrumental in making this first-edition project possible.

First, we gratefully acknowledge the indispensable contributions of past and present members of the Wiley team: Helene Greenwood for her work in the important and early stages of the project; Elena Herrero for her on-going devotion and hands-on contributions to all aspects of the project, including her participation in the script-writing and on-site filming of the DVD; Lisha Perez, for her extensive work in lining up reviewers and focus group participants; Magali Iglesias for the expertise she brings and her role in carrying out this project into the future; and Jay OCallaghan for his constant encouragement and support. Special gratitude is extended to Glenn A. Wilson, whose countless hours of attention to Vvelo! went above and beyond the call and were indispensible to the completion of this project. We also thank Antonio Blas Prez Nuez for developing the excellent activities for the En directo! sections.

We also want to thank Tiziana Aime, Marketing Manager for Modern Languages, Elena Casillas, Market Specialist, and Jeffrey Rucker, Associate Director of Marketing, for their enthusiasm, creativity, and brilliant work in developing an advertising program that will convey Vvelo! message to colleagues and universities across the nation.

We are grateful to Anna Melhorn, Senior Illustration Editor, and Jennifer MacMillan, Senior Photo Editor, for their excellent work in selecting magnificent illustrations and photographs for Vvelo!; to Lynn Pearlman, Senior Media Editor, and Margarita Valdez, Media Project Manager, who are responsible for the texts highly innovative and technologically relevant media ancillaries; and to Bill Murray, Senior Production Editor, for coordinating all of the technical aspects of production.

We express our sincere gratitude to Curriculum Concepts International for their skillful management of the project: Candy Rod, Executive Director; Kevin Adkins, Editor; Maureen OConnor, Production Manager; Nancy Figueiredo and Frank Ferri, Designers, who worked with us so diligently through the various and challenging stages of production.

We thank Rebecca Taub for her fine work in creating the exams and self-tests. We are grateful to Sheila Basulto Tarifa for both the internet activities and PowerPoint slides. We extend our gratitude also to Kimberley Sallee for the test bank; to Carmen Garca for the Wimba voice tool questions; and to Mary Jane Kelley for the video activities.

For their candid commentary and creative ideas, we wish to thank the following reviewers and contributors:

Toms Ruiz-Fabrega, Albuquerque TVI Community College; Ingetraut Rut Baird, Anderson University; Stacey Powell, Auburn University; Phillip Johnson, Baylor University; Elena Gonzlez Ros, Brandeis University; Mara Dolores Costa, California State University, Los Angeles; Eduardo Barros-Grela, California State University, Northridge; Judy Getty, California State University, Sacramento; Carlos Andrs, California State University, Stanislaus; Carlos Valdez, Carleton University; Pascal Rollet, Carthage College; Cindy Espinosa, Central Michigan University; Alejandra Rengifo; Central Michigan University; Jorge Koochoi, Central Piedmont Community College; Juana Sylvia Nikopoulos, Central Piedmont Community College; Irena Stefanova, City College of San Francisco; Roger Simpson, Clemson University; Ana Girn Collin, County Community College; Patricia Harrigan, Community College of Baltimore County; Chris DiCapua, Community College of Philadelphia; Yolanda Hernndez, Community College of Southern Nevada, Cheyenne; Tony Rector-Cavagnaro, Cuesta College; Jos Lpez-Marrn, CUNY Bronx Community College; Patricia Davis, Darton College; Richard McCallister, Delaware State University; Eduardo Jaramillo, Denison University; Aurea Diab, Dillard University; Joanne Philip Lozano, Dillard University; Michael Schinasi, Eastern Carolina University; Jerome Mwinyelle, East Tennessee State University; Jos Varela

i acknowledgements

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Eastern, Kentucky University; Chary-Sy Copeland, Florida A&M University; Sandra Kregar, Florida State University; Adela Borrallo-Sols, Georgetown College; Ronald Leow, Georgetown University; Ana Cruz; Georgia Institute of Technology; Dyana Ellis, Georgia Southern University; Dolores Rangel, Georgia Southern University; Rafael Falcn, Goshen College; Jeff Samuels, Goucher College; Hctor F. Espitia, Grand Valley State University; Miryam Criado, Hanover College; Angela Cresswell, Holy Family University; Josephine Books, Inver Hills Community College; Julie Wilhelm, Iowa State University; Samuel Sommerville, Johnson County Community College; Mary Copple, Kansas State University; Adriana Natali-Sommerville, Kansas University; Timothy Benson, Lake Superior College; Nancy Barclay, Lake Tahoe Community College; Laurie Huffman, Los Medanos College; Kate Grovergrys, Madison Area Technical College, Madison; Deborah Mistron, Middle Tennessee State University; Tere Gilles, Montana State University, Billings; Gail Ament, Morningside College; Ronna Feit, Nassau Community College; Jeff Longwell, New Mexico State University; Yuly Asencin Delaney, Northern Arizona University; Nicholas Concepcin, Northern Illinois University; Hilary Landwehr, Northern Kentucky University; Mara Lpez Morgan, Northwest Florida State College; Sue Pechter, Northwestern University; Mary Jane Kelley, Ohio University; Virginia Hojas, Ohio University; John Deveny, Oklahoma State University, Main Campus; Inma lvarez, Open University; Victor Slesinger, Palm Beach Community College; Judith Richards, Park University; Jennifer Garson, Pasadena City College; Robin Bower, Pennsylvania State University; Kit Decker, Piedmont Virginia Community College; Enrica Ademagni, Purdue University; Peggy Patterson, Rice University; Daria Cohen, Rider University; U. Theresa Zmurkewycz, Saint Josephs University; Laura Ruiz-Scott, Scottsdale Community College; Robert Lesman, Shippensburg University of Pennsylvania; Charlene Grant, Skidmore College; Carol Snell-Feikema, South Dakota State University; Covadonga Arango-Martn, Southern Connecticut State University; Heidy Carruthers, Southern Illinois University, Edwardsville; Alice A. Miano, Stanford University; Elizabeth Lansing, State University of New York, Albany; Silvia lvarez-Olarra, Temple University; Norma Corrales-Martin, Temple University; Cheryl Bevill, Tennessee State University; Carmen Garca, Texas Southern University; Leticia Romo, Towson University; Thomas Capuano, Truman State University; Danion Doman, Truman State University; Ari Zighelboim, Tulane University; Amy George-Hirons, Tulane University; Juliet Falce-Robinson, University of California, Los Angeles; Dina Fabery, University of Central Florida; Mara Montalvo, University of Central Florida; Noel Fallows, University of Georgia; Teresa Prez-Gamboa, University of Georgia; Luisa Kou, University of Hawaii, Manoa; R. Joseph Rodrguez, University of Houston; Aymar Boggiano, University of Houston; Melanie Waters, University of Illinois, Urbana-Champaign; Rosalinda Silva-Alemany, University of Louisiana at Lafayette; Regina Roebuck, University of Louisville; Carla Martnez, University of Memphis; Eugenio ngulo, University of Miami; Michelle Orecchio, University of Michigan; Luis Belustegui, University of Missouri, Kansas City; Mara Belustegui, University of Missouri, Kansas City; Bethany Sanio, University of Nebraska, Lincoln; Patricia Baker, University of North Carolina, Asheville; Michelle Bettencourt, University of North Carolina, Asheville; Mara Moratto, University of North Carolina, Greensboro; Marcia Payne Wooten, University of North Carolina, Greensboro; Jiyoung Yoon, University of North Texas; Mara Arenillas, University of Notre Dame; Linda Grabner Travis, University of Pennsylvania; Claudia Ferman, University of Richmond; Natalie Wagener, University of Texas, Arlington; Delia Montesinos, University of Texas, Austin; Karen Rubio, University of Tulsa; Joan Fox, University of Washington; Bridgette Gunnels, University of West Georgia; Isabel lvarez, University of Wisconsin, Oshkosh; Samira Chater, Valencia Community College; Aida Daz, Valencia Community College; Yolanda Gonzlez, Valencia Community College; Rachel Chiguluri, Vanderbilt University; Arthur Sandford, Ventura College; Elizabeth Calvera, Virginia Polytechnic Institute and State University; Marilyn Kiss, Wagner College; Rebekah Morris, Wake Forest University; Marisa Barragan-Peugnet, Washington University, St. Louis; Candy Henry, Westmoreland Community College; Maripaz Garca, Yale University; M. Lourdes Sabe-Colom, Yale University; Serge Ainsa, Yavapai College.

acknowledgements ii

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Vvelo! offers a fresh approach to beginning Spanish based on a solid foundation of what second language acquisition research tells us about how students acquire and assimilate language and cultural competence. It is a holistic, culturally rich, task-driven program with engaging input and realistic expectations of what beginning learners can achieve in a first college Spanish course.

Vvelo! pays close attention to the role of affect in the foreign language learning process by emphasizing what students know and can readily do with language, and by going beyond exposing them to the products and practices of other cultures to explore, compare, and embrace the perspectives they come from. It is designed strategically to ensure that beginning students of Spanish, even with a limited amount of language, can understand and make themselves understood well enough to function at levels parallel to their cognitive abilities and in a culturally appropriate manner.

Main Pedagogical FeaturesA task-driven program, rich in content. In our native language, we read and listen to learn, and we speak and write to share our experiences, express our feelings, and voice our opinions. Vvelo! treats college learners like adults who are capable of thinking at higher cognitive levels even with their limited proficiency in Spanish. While students need practice, they are also capable of interacting on a real, meaningful level. Students are more motivated to learn Spanish by engaging in authentic language functions, such as gathering and sharing information for the purpose of doing something with it. We consistently include interactive activities such as signature searches, information-gap exercises, and interviews to encourage negotiation of meaning with a purpose. And in Vvelo! students do not just learn Spanish; they explore content from an array of disciplines. In Captulo 5, for example, while they learn vocabulary for colors, clothing, body parts, and prepositions of location, students are also learning how to think critically about fashion, what it is, what it does, and how it can be interpreted. The content-rich, task-driven, and problem-solving nature of this program encourages long-term retention and life-long learning habits because the focus is on authentic purposes of communication instead of short-term, superficial learning.

The language students know. Our program makes strategic use of cognates and context to introduce students to the topics they will explore. Each Investigacin begins with Adelante, which presents a list of easily recognizable cognates and nearcognates with activities that establish context and engage students in a meaningful way right from the start. Cognates are then consistently used throughout the chapter to continue the contextual thread as new language is introduced.

The language students need. We refrain from including the full range of explicitly framed grammar structures that most first-year textbooks include. For example, the subjunctive is not omitted but we limit its coverage and emphasize comprehension over production because the subjunctive is a cognitively complex structure that is ultimately acquired late. By encouraging students to link the verb form vaya to its meaning (go), we facilitate comprehension even without an explicit awareness of this advanced grammar concept. A student will more readily comprehend the sentence Yo quiero que mi amigo vaya con ustedes than Le doy la mochila que le tengo guardada a mi amigo, even though the former is in the subjunctive and the latter is not. Time-consuming instruction of advanced structures may lead to superficial, short-term performance on fill-in-the-blank tests, but it takes class time away from problem-solving communicative tasks that help students internalize structures that are more within the reach of their developing linguistic system. Time is better spent on topics that help students make form-meaning connections using structures without which there is a breakdown in communication, such as object pronouns and constructions with se. The scope and sequence thus gives priority to those structures without which communication is impeded, and forms that offer the greatest flexibility of self-expression with the least cognitive effort. For example, we introduce the present perfect to refer to past actions, before we introduce the preterit because the present perfect is cognitively less complex.

iii PREFAcE

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Processing instruction. When developing the scope and sequence of topics, and the tasks and activities in this program, we took into account the principles of input processing, processing instruction, and structured output and speaking tasks. For example, through processing instruction research we know that students process language based on communicative value. Consequently, for grammar, we design practice activities that draw students attention to the meaning inherent in forms, such as the change in meaning that comes with verb forms (present, future, past) or with the information contained in the verb, such as person and number. We emphasize making form-meaning connections and move tasks from recognition to structured output. In other words, when students are asked to produce, the tasks are structured to ensure linguistic and lexical support.

Culture integration. Vvelo! maximizes the role of culture by integrating it throughout each chapters various sections. Cultural content is woven into anything from vocabulary presentations and practice activities to grammar exercises, and explored explicitly in Vvelo: Cultura and Contextos y perspectivas where students engage in the construction and deconstruction of perspectives about culture from the L1 to L2 and vice versa. Critical cultural awareness is achieved by encouraging students to reflect on perceptions of their own cultures and cultures of the Spanish-speaking world. The breakdown of ethnocentric interpretations and a suspension of enthnocentricism is a principle objective of Vvelo!

LowAnxiety Classroom Community. Willingness to communicate is essential for successful language deve-lopment. For students to feel willing to communicate, risk must be minimized in the classroom. Familiarity at the individual and social level lowers risk. Vvelo! attempts to create a familiar, social classroom environment through highly interactive, dialogic tasks and the Retrato de la clase writing tasks which have students collect and record information about their class community. A comfort zone is established with cognates at the beginning of each Investigacin, and community is built from the many tasks throughout each Captulo that have students collect, record, and share information about themselves and their classmates.

Empowerment and accountability. The heavy emphasis on content and experiential learning in Vvelo! both empowers students and holds them accountable in various ways. For example, the content of the Retrato de la clase is integrated into writing exercises or classroom compositions. If students are conscientiously collecting and recording information at the times indicated in the book, they will have the content they need to write more extensively and can be asked to focus on organization, grammar, and composition skills. Just by being attentive to what people say in class, students have control over this component of the program. Vvelo! builds accountability via the Retrato de la clase assignments. By holding students accountable for the information they learn in and out of class, and by asking students to do something with information they have gathered and shared, we place the emphasis on what is said and why, and not just how it is said.

Beyond the classroom. For students to see language learning as useful, they must move beyond the classroom. Vvelo! supports broadening the language learning experience by linking content in the book to real world, up-to-date knowledge, experiences and events via online connections. Students explore geography through Google Earth, climate via actual and authentic weather predictions, artistic expressions via accessible websites that showcase works of art, etc. We promote learning experiences through community tasks, such as interviewing native Spanish speakers in the community or on campus. We explore Spanish-language cinema to promote critical cultural awareness and intercultural competence.

Learning styles. Vvelo! takes into account a variety of learning styles. We vary the types of textbook and activities manual tasks to provide a balanced appeal to different learning styles so that all students are given opportunities to learn in ways that will be most successful for them. In addition, the instructor annotations often give suggestions on how a given activity might be modified or followed-up on to appeal to specific learning styles.

PREFAcE ix

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Learning strategies. Vvelo! offers reading strategies, communicative strategies, and other L2 learning strategies along with many of the input selections and activities throughout the book to effectively arm students with cognitive and metacognitive tools for L2 development.

our Approach to the Basics: Vocabulary, Grammar, and cultureIn the course of Vvelo!s development, we have been motivated by reviewers enthusiastic appreciation of how well vocabulary, grammar, and culture are integrated and interwoven throughout the program. These basic elements of language instruction work in harmony to create a rich, coherent context in each Investigacin and Captulo.

Vocabulary. Each Investigacin begins with a section called Adelante that gives a list of easily recognizable cognates and nearcognates that students use in activities that begin to establish context for the Investigacin. Cognates in Adelante are not strictly words that are spelled alike and have similar meanings in Spanish and English, but also include words that share the same root as their English equivalent and related words whose meanings may vary somewhat in the two languages. Clear context in the activities and facile recognition of most items provides a comfortable environment for students as they begin exploring the Investigacin topic in general terms. Following this work with cognates, a short, engaging reading selection begins to move things from the conceptual to the concrete and provides the context for beginning to introduce new vocabulary. Palabras clave introduces new, thematic vocabulary in a visual context and by way of synonym associations, brief definitions, and example sentences or exchanges, entirely in Spanish. Items presented in one chapter may be reintroduced in another in a new context. Throughout each chapter, Expresiones tiles boxes appear when there is an opportunity to introduce high-frequency expressions that might be used in any variety of contexts. At the end of each Investigacin, a Vocabulario section collects thematic vocabulary in the form of a list with English equivalents. The list is organized into Vocabulario esencial, containing the most high-frequency vocabulary necessary for communication at the beginning level, and Otras palabras y expresiones, containing items that students may or may not

assimilate into their working vocabulary at this level, but are likely to recognize in context. There is also a reminder on the vocabulary lists to review the cognates in Adelante and a cross-reference to a list of all of the cognates appearing in the Investigacin, in an appendix at the end of the book.

Grammar. As mentioned, our approach to grammar focuses on topics that help students make form-meaning connections using structures without which there is a breakdown in communication, and we give priority to forms that offer the greatest flexibility of self-expression with the least cognitive effort. Estructuras clave focuses on form and function, and often asks students to make observations about how a particular structure works before presenting the rules. We recognize that many students are not comfortable with grammar terminology, so we explain concepts clearly before presenting forms and rules. For example, before presenting direct object pronouns, we establish that a direct object answers the question what? or whom?.

Qu ropa llevan?Palabras clave 1

las medias

el reloj

los calcetines

el abrigo

los aretes/los pendientes

la falda

los lentes

el vestido

el cinturn

la cartera/la bolsa

el traje de bao

el anillo/la sortija

Para describir el cuerpo y la ropael buen gusto Hay artistas que no tienen buen gusto.

de estatura alta/baja Los jugadores de bsquetbol son de estatura alta, no baja.

engordar Si comemos mucho chocolate Godiva engordamos.

adelgazar Si hacemos mucho ejercicio adelgazamos.

suelto/a Ya que perdi peso, mi amiga tiene mucha ropa suelta.

apretado/a La ropa apretada no es atractiva.

230 DOSCIENTOS TREINTA CAPTULO 5

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Estructuras clave 1 Making Form-Meaning Connections

To make form/meaning connections, you must be aware of the verb endings that change the meaning of the verbs because the natural tendency, when processing a second language, is to pay closer attention to words with the most communicative value in a sentence, such as nouns and verb meaning. Moreover, just because you have been introduced to the various verb tenses/ aspects that appear below does not mean that you have memorized every verb and its conjugation. Connecting the verb form to the meaning it represents is one way to be a strategic language learner. You have seen the information in the chart below, but not all of it at once. Remember that the context and usage of a verb will contribute in signifi cant ways to its meaning. Review the chart, keeping in mind that due to lack of space not all uses are indicated in the fi rst left-hand column.

Tense / Aspect / Mode

Forms/endings for ar verbs

Forms/endings for er verbs

Forms/endings for ir verbs

Examples

Present To indicate present or routine actions, an action in progress, or a future action

-o-as-a-is-amos-an

-o-es-e-is-emos-en

-o-es-e-s-imos-en

Ahora se peina el pelo. Maana comemos paella. Siempre comen pollo.

Present Progressive (-ing)To indicate an action in progress

estar (estoy, ests, est,estamos, estis, estn) + verb stem + ando

estar + verb stem + iendo

estar + verb stem + iendo

Est lloviendo.

Present Perfect To indicate an action that has occurred from the speakers present perspective

haber (he, has, ha, habis, hemos, han) + verb stem +ado

haber + verb stem + ido

haber + verb stem + ido

He enviado 100 mensajes de texto hoy.

Future (will _____)To make predictions about what will happen in the future or to make promises

Verb in nitive +--s--is-amos-n

Verb in nitive +--s--is-amos-n

Verb in nitive +--s--is-amos-n

Llegar maana a las 3:00.

Ir + a + nitive(going to ____)Future from present perspective

Future from past perspective

voy avas avan avais avamos avan a

iba aibas aiba aibais abamos aiban a

Vamos a viajar a Espaa en el verano.

bamos a comer all.

540 QUINIENTOS CUARENTA CAPTULO 12

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x PREFAcE

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We place heavy importance on establishing form-meaning connections. In early chapters, for instance, students learn and practice the meaning of new verbs in the infinitive before they begin to conjugate them. Thus, when they begin to conjugate verbs their full attention is on the association of the various endings with the appropriate person. Vvelo: Lengua focuses on simple forms and constructions used for a specific function or purpose and is presented as such with titles like Expressing possession, Giving instructions with infinitives, Describing actions: Adverbs ending in mente, etc. As in Estructuras clave, form-meaning connections are of central importance.

Culture. Culture is integrated throughout each Investigacin in Adelante reading selections, activities, grammar explanation examples, etc., and is the focus of the Vvelo: Cultura and Contextos y perspectivas sections. Vvelo: Cultura introduces cultural phenomena and information in the form of brief essays and excerpts from many real-life sources. In early chapters, topics are presented in Spanish wherever they can be with accessible language, or in English when they are more complex. Beginning in Captulo 5, all Vvelo: Cultura sections are presented in Spanish. Contextos y perspectivas explores the Investigacin topic in a Hispanic context through an examination of both the Hispanic perspective and the students home culture perspective. Video segments and their associated activities in En directo (found in the chapter-ending Vvelo! section) open a window on manifestations of culture throughout the Spanish-speaking world.

1A.5 Ms all de la clase. Conduct a search on the Internet for information on gestures that are part of your native culture but would be taboo in a Spanish-speaking culture, or vice-versa. Share the essential elements of your research with the class. The Spanish word for gestures is gestos, which may be helpful in your search.

Cuidado con los gestos! (Be careful with gestures)

Like communicative patterns, all cultures have ways of communicating through gestures. Discrepancies in the vocabulary of gestures may vary from one culture to another potentially leading to cross-cultural misunderstandings, such as the one illustrated below.

VVELO: CULTURA

Cultural misunderstandings: Asking for two beers can lead to dangerous entanglings depending on where you are asking. In the bar of an English pub, it is better not to raise two ngers in the form of a V to indicate that you want two beers. In British culture, this sign equates to telling the waiter Go to H

1A.4 Estilo personal. How would you describe your personal communicative style? Check the statements that correspond to you (most words in these sentences are cognates).

Necesito mi espacio personal. No necesito mi espacio personal.

Prefi ero contacto fsico. No prefi ero contacto fsico.

Mi reaccin depende de las personas. Mi reaccin depende de la cultura.

1A.3 Qu observas? Look at the photos on page 17 with a classmate and refl ect together on the following questions.

1. Which of these photos represent typical greeting behaviors in your native culture?2. What factors determine how you greet someone in your culture?3. Which of the photos do you think represent typical greeting behaviors in Spanish-

speaking cultures?4. What are some factors that you think likely determine greeting behaviors among

Spanish speakers?

18 DIECIOCHO CAPTULO 1

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preface xi

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SEcTIoN BY SEcTIoN GUIDEYou will learn This section introduces the study objectives for each Investigacin and activates students background knowledge with a set of thematic questions.

Adelante This section begins with simple lists of topically relevant cognates. Cognates include words of recognizable origin even if not spelled like their English counterparts, and words that are related in meaning to English words but may not correspond one-to-one. Following this list, students work with the cognates in a few heavily recognition-oriented activities. .

A brief reading selection follows. The aim of the reading and its activities is to further introduce and contextualize cognates and begin introducing new, topical/thematic vocabulary in context. . In this Investigacin you will learn

c How to talk about jobs, professions and places of employment

c How to talk about what people do at work

c About the population of Hispanics in the US

c About the professional bene ts of learning Spanish

Cmo se puede hablar de los bene cios vocacionales y profesionales de hablar espaol?

You can identify various professions, trades and vocations where Spanish is highly bene cial.

la medicina, la arquitectura, la ingenierael polica, el carpintero, el cocinero

You can talk about what people do in their careers or jobs.

Los mdicos trabajan en hospitales o clnicas y ayudan a los enfermos. Los arquitectos construyen edi cios. Los ingenieros disean puentes y tneles.

You can nd out in which careers it is bene cial to speak Spanish. Will this be true for these same careers in the future?

Obviamente es bene cioso hablar espaol en la medicina y esto no va a cambiar en el futuro.

Adelante Ya lo sabes! Profesiones, oficios y lugares de trabajoLa medicina

el/la administrador/a del hospitalel/la dentistael/la doctor/ael/la farmacutico/ael/la psiclogo/ael/la psiquiatrael/la veterinario/a

La educacin

el/la directora/ael/la maestro/a de educacin fsica

Las letras y las humanidades

el/la fi lsofo/ael/la lingista

Las ciencias sociales

el/la antroplogo/ael/la socilogo/a

Las ciencias naturales

el/la agricultor/ael/la astrnomo/ael/la bilogo/ael/la fsico/ael/la gelogo/ael/la qumico/a

Las comunicaciones

el/la columnistael/la comentaristael/la corresponsalel/la fotgrafo/ael/la reportero/a

Vocaciones y o cios

el/la carpintero/ael/la conductor/a de autobsel/la electricistael/la empleado/ael/la mecnico/ael/la ministro/ael/la pilotoel/la policael/la recepcionistael/la secretario/ael/la taxista

Lugares de trabajo

el bancoel centro comercialla clnicala compaael consultoriola cortela farmacia

el hospitalel hotelel laboratoriola ofi cinala plazael restaurante

Acciones

administraranalizararrestarconstruirdictardocumentarexcavarinventarinvestigarobservarorganizarplantarreservar

En qu profesiones ayuda hablar espaol?

I N V E S T I G A C I N 4 B

180 CIENTO OCHENTA CAPTULO 4

c04_B_f.indd 180 12/4/09 1:47:15 PM

5A.5 Encuentra a un

a persona. Pregntales

a tus compaeros de cla

se sobre sus

preferencias. Si un/a com

paero/a responde afi rm

ativamente, pdele (ask h

im/her) que

fi rme tu hoja. Comparte

(share) tus resultados co

n la clase y escrbelos en

tu Retrato de

la clase.

Modelo: Quin en la cl

ase bebe caf cuando tie

ne que estudiar?

E1: Bebes caf

cuando tienes que estudia

r?

E2: S, bebo ca

f.

E1: Firma aqu

, por favor.

Quin en la clase

1. bebe caf cuando tie

ne que estudiar? _______

____

2. es vegetariano/a? __

_________

3. come yogur por la m

aana? ___________

4. trae un sndwich par

a comer al medioda? ___

________

5. come sopa cuando h

ace fro? ___________

6. prefi ere no comer m

uchos carbohidratos? __

_________

7. no come salmn? __

_________

8. come pizza una vez

a la semana o ms? ___

________

Retrato de la clase: __

____, ______, ______ be

ben caf cuando tienen q

ue estudiar.

Ingrid Hoffman y su co

cina

Promocin de la cultu

ra hispana

Sol Carreras, EFE

MIAMI - De pequea ya

experimentaba en la co

cina con su madre.

Su pasin por la comida

le anim a abrir un rest

aurante en Miami y

ahora la presentadora c

olombiana Ingrid Hoffm

an promociona la

cultura hispana con rec

etas fciles y creativas.

De Colombia para el m

undo

Para la colombiana Ingr

id Hoffman, la cocina es

una a cin

(favorite activity) con la

que creci desde peque

a bajo la

supervisin de su madre

, que se gradu de che

f en la legendaria

escuela de cocina france

sa Le Cordon Bleu.

Hoffman se traslada (m

oves) a Orlando a los tre

ce aos y despus

de tener suerte (luck) co

mo actriz en su pas vue

lve a Estados

Unidos en 1989, donde

abre una tienda y un res

taurante en Miami. Su

restaurante, Rocca, tien

e fama por cocinar sob

re piedras (rocks) de lav

a

caliente y se ha converti

do en uno de los favorit

os de los famosos.

Desde 2006 presenta el

programa de cocina De

licioso en

la cadena Galavisin. Pa

ra Hoffman, la comida l

atina es

una forma de mostrar

nuestra cultura.

206 DOSCIENTOS S

EIS CAPTULO 5

c05_A_v25.indd 206

12/4/09 11:55:57 AM

el/la directora/ael/la maestro/a de educacin fsica

Las letras y las humanidades

el/la fi lsofo/ael/la lingista

el/la qumico/a

Las comunicaciones

el/la columnistael/la comentaristael/la corresponsalel/la fotgrafo/ael/la reportero/a

el/la secretario/ael/la taxista

Lugares de trabajo

el bancoel centro comercialla clnicala compaael consultoriola cortela farmacia

construirdictardocumentarexcavarinventarinvestigarobservarorganizarplantarreservar

CIENTO OCHENTA CAPTULO 4180 CIENTO OCHENTA CAPTULO 4

AD

EL

AN

TE

Bien dichoLa letra r

The letter r in Spanish is not pronounced like the English r. Rather than folding your tongue

towards the back of your mouth as you do when pronouncing r in English, the Spanish r is

produced when the front part of the tongue briefl y touches the hard ridge behind your top

teeth. This pronunciation is called a single fl ap or tap. The sound produced is similar to

the sound associated with d, dd, t, and tt in the English words rider, middle, photo, and butter.

Recall that when you pronounce d and t in Spanish, the tip of your tongue touches the

bottom edge of your top teeth. This slight difference in the position of the tongue is enough

to distinguish d/t from r in Spanish. Listen to the Spanish r in the following words.pera Mara tropacoro favor directoradorar grande horaThe single fl ap pronunciation is associated with r except when r begins the word or follows

an l, n, or s. As you will see in Investigacin 11B, a different pronunciation is associated

with the r in these contexts.

11A.4 Escucha e indica. Escucha las palabras e indica qu palabra oste en cada caso. 1. cada cara 2. todo toro 3. mudo muro 4. comprada comprara comprar 5. od or6. ida ira7. padecer parecer8. mirada mirara mirar9. lodo loro10. sed ser

11A.5 A practicar! Con un/a compaero/a, pronuncien por turnos las oraciones.

Al terminar, repitan el ejercicio pronunciando las oraciones que su compaero/a

pronunci la primera vez. Presten atencin a la pronunciacin de r.1. Alberto siempre prefi ere viajar en primera clase.2. El drama de la vida nos prepara para enfrentarnos a todo.3. Para viajar a Uruguay, es necesario tener pasaporte.4. Muchas personas dependen de aparatos inalmbricos.5. Aquellos cruceros podrn navegar por el mar Caribe.6. Favor de abordar ese tren en la plataforma catorce.7. Se transmiti la informacin por medios electrnicos.8. Hubo mucho trfi co a esa hora, por eso llegu tarde.

INVESTIGACIN 11A CUATROCIENTOS OCHENTA Y SIETE 487c11_A_f.indd 487

12/4/09 2:21:27 PM

Bien dicho This section presents information on Spanish pronunciation and spelling with two activities. c

xii Visualwalkthrough

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PA

LA

BR

AS

CL

AV

E

La gente va a la iglesia a or el sermn y a rezar.

El hombre lee las noticias en el peridico.

la abogada

Es importante decir la verdad y no mentir.

La abogada sale del juicio con su cliente.

el botones

las maletas

El hombre le da una propina al botones por traer las maletas.

Los carteros vuelven a correos al n del da.

Mi abuela no habla ingls. Yo voy a traducir.

El enfermero ayuda a la paciente.

Los bomberos responden a una llamada.

4B.11 Asociaciones. For each profession or place you hear mentioned, give real-life

examples. Follow the model. Compare your answers with those of several classmates.

What were the most frequent examples given?Modelo: You hear: un cocinero famoso o una cocinera famosa You respond: Julia Child, Emeril Lagasse, Ingrid Hoffman

el cartero

la cartera

el enfermero

INVESTIGACIN 4B CIENTO OCHENTA Y SIETE 187c04_B_f.indd 187

12/4/09 1:47:23 PM

Palabras clave 1 Profesiones, vocaciones y lugares

la dependienta

el almacn

el dependiente

El dueo no est aqu hoy.

la carnicera

Desea probar el chorizo?

la pastelera

el cocinero

la joyera

la joyera

La joyera ve la joya.

la peluquera

la peluquera

la zapatera

el zapatero

el camarero

El camarero pone la comida en la mesa.la contadora

el contador

la gerente

La gerente manda a los empleados.

4B.10 Profesiones, vocaciones y lugares. In groups of two, fi ll in the vocabulary words

that fi t under each of the categories below. Some words will be used more than once.

Then, compare your lists with another pair of classmates.Proveer productos y servicios

O cio peligroso (dangerous)

Trabajar al aire libreTrabajar en una o cina

Proveer servicio fsico

Sin categora

l

186 CIENTO OCHENTA Y SEIS CAPTULO 4

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12/4/09 1:47:16 PM

INVESTIGACIN 4B CIENTO OCHENTA Y SIETE 187

PA

LA

BR

AS

CL

AV

E

Reclamarmeans to claim,

to demand or to lodge (a comp

laint). Reclamar does not

mean to reclaim. To express the

idea of to reclaim, use the verb

recuperar,

as in to recuperate.

El servicio en el hotel era terrib

le. Le reclam a la administrado

ra y nos

dio un desayuno gratis.

Muchos grupos indgenas recup

eraron parte de las tierras que h

aban

perdido.

Asistir (a)means to attend

. Asistir does not usually mean t

o assist or to help. To

express the idea of to help, use

the verb ayudar.

Me gustara asistir al prximo co

ncierto de Man.

Mi profesora siempre me ayuda

cuando no entiendo algo.

Atender (e-ie)means to take c

are of, to provide service. It doe

s not mean to attend.

Cuando regreso a mi casa duran

te las vacaciones mi mam me a

tiende

muy bien.

Atencin!

10A.13 S honesto. Con un/

a compaero/a de clase, trnense

haciendo preguntas de

la tabla y contestando honestame

nte. Si tu compaero/a responde

s, puedes

poner una X en esa caja. Escrib

e lo que aprendas sobre tu compa

ero/a en tu

Retrato de la clase.

Asistes a muchos

conciertos?

Si recibes

servicio malo,

reclamas?

Los profesores

siempre deben

atender a sus

estudiantes?

Asistes a todas tus

clases?

Atiendes

a personas

enfermas?

Te gusta

ayudar a tus

amigos con sus

tareas?

Ayudas a tu

familia mucho?

Siempre

recuperas las

cosas que

prestas a tus

amigos?

Retrato de la clase: Mi compa

ero/a de clase ____ asiste a much

os conciertos. Mi

compaero/a de clase nunca/siem

pre reclama cuando recibe servici

o malo....

10A.14 Cules son ms impo

rtantes? Lee las oraciones sigu

ientes y selecciona las dos ms

importantes en tu opinin. Tamb

in selecciona las dos menos imp

ortantes. Despus

compara tus selecciones con las d

e un/a compaero/a de clase. So

n similares o

diferentes sus respuestas?

Es importante reclamar cuando

existen injusticias sociales.

Es importante ofrecer tus servic

ios para ayudar a otras personas.

Me gustara asistir a un conciert

o de Eminem.

Si tu hamburguesa de Burger Ki

ng no est caliente es necesario re

clamar tu dinero o

que te den (that the give you) otra h

amburguesa.

Es importante atender a nuestro

s invitados cuando hacemos fi esta

s.

Los padres siempre deben atend

er a sus hijos.

Los estudiantes siempre deben a

sistir a clase de espaol.

INVESTIGACIN 10A CU

ATROCIENTOS CUARENTA

Y SIETE 447

c10_A_f.indd 447

12/4/09 2:24:41 PM

Atencin! This section is comprised of a brief presentation of several false cognates followed by one or two short activities. c

Palabras clave This section introduces new, thematic vocabulary in a visual context and by way of synonym associations, brief definitions, example sentences or exchanges, etc., entirely in Spanish. There are often two or three Palabras clave presentations in an Investigacin, each with an activity set that follows. .

In this Investigacin you will learnc How to talk about jobs, professions and

places of employment

c How to talk about what people do at work

c About the population of Hispanics in the US

c About the professional bene ts of learning Spanish

Cmo se puede hablar de los bene cios vocacionales y profesionales de hablar espaol?

You can identify various professions, trades and vocations where Spanish is highly bene cial.

la medicina, la arquitectura, la ingenierael polica, el carpintero, el cocinero

You can talk about what people do in their careers or jobs.

Los mdicos trabajan en hospitales o clnicas y ayudan a los enfermos. Los arquitectos construyen edi cios. Los ingenieros disean puentes y tneles.

You can nd out in which careers it is bene cial to speak Spanish. Will this be true for these same careers in the future?

Obviamente es bene cioso hablar espaol en la medicina y esto no va a cambiar en el futuro.

Adelante Ya lo sabes! Profesiones, oficios y lugares de trabajoLa medicina

el/la administrador/a del hospitalel/la dentistael/la doctor/ael/la farmacutico/ael/la psiclogo/ael/la psiquiatrael/la veterinario/a

La educacin

el/la directora/ael/la maestro/a de educacin fsica

Las letras y las humanidades

el/la fi lsofo/ael/la lingista

Las ciencias sociales

el/la antroplogo/ael/la socilogo/a

Las ciencias naturales

el/la agricultor/ael/la astrnomo/ael/la bilogo/ael/la fsico/ael/la gelogo/ael/la qumico/a

Las comunicaciones

el/la columnistael/la comentaristael/la corresponsalel/la fotgrafo/ael/la reportero/a

Vocaciones y o cios

el/la carpintero/ael/la conductor/a de autobsel/la electricistael/la empleado/ael/la mecnico/ael/la ministro/ael/la pilotoel/la policael/la recepcionistael/la secretario/ael/la taxista

Lugares de trabajo

el bancoel centro comercialla clnicala compaael consultoriola cortela farmacia

el hospitalel hotelel laboratoriola ofi cinala plazael restaurante

Acciones

administraranalizararrestarconstruirdictardocumentarexcavarinventarinvestigarobservarorganizarplantarreservar

En qu profesiones ayuda hablar espaol?

I N V E S T I G A C I N 4 B

180 CIENTO OCHENTA CAPTULO 4

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Visualwalkthrough xiii

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Go to WileyPLUS and review the tutorial for this grammar point.

ES

TR

UC

TU

RA

S C

LA

VE

Estructuras clave 2Comparisons of equality and inequalityEqualityTo talk about equality in terms of quality, Spanish uses tan + adjective + como (as...as). Tan and como do not change forms, but the adjective must agree with what it is describing.

Esta galera es tan variada como esa. This gallery is as varied as that one.

Dal es tan conocido como Picasso. Dal is as well known as Picasso.

Swanson no es tan famoso como Hopper. Swanson is not as well known as Hopper.To talk about equality in terms of quantity, Spanish uses tanto/a/os/as + noun + como

(as much/manyas). Tanto is an adjective and must agree with the noun it describes.Javier Bardem no tiene tanto dinero Javier Bardem does not have as much

como Paris Hilton. money as Paris Hilton.

Sonia Solanilla no tiene tantos cuadros Sonia Solanilla doesnt have as many paintings as

como Carmen Lomas Garza. Carmen Lomas Garza.No hay tantas galeras en Nashville There arent as many galleries in Nashville

como en la Ciudad de Nueva York. as (there are) in New York City.InequalityTo make comparisons of inequality in terms of quality, Spanish uses ms/menos + adjective

+ que (more/lessthan), and to make comparsions of inequality in terms of quantity, ms/

menos + noun + que (more/less/fewerthan). Las pinturas son ms interesantes Paintings are more interesting than photos.

que las fotografas.El programa Heroes es ms violento The program Heroes is more violent than

que el programa Brothers and Sisters. the program Brothers and Sisters.El teatro tiene menos espectadores The theater has fewer spectators than the

que el cine.cinema.To express more than or fewer than with numbers, use ms/menos de + number.

El museo exhibe ms de diez The museum is exhibiting more than ten

cuadros de Dal.Dal paintings.

Hay menos de cien obras en la galera. There are fewer than a hundred works in the gallery.8B.22 Ests de acuerdo?

Paso 1: Lee los siguientes enunciados y escribe S, si ests de acuerdo o No, si no lo

ests. Luego, busca a un/a compaero/a cuyas (whose) respuestas sean, en su mayora,

iguales a las tuyas. Trabaja con ese/a estudiante en el segundo paso en la pgina 386.____ Mi clase de espaol es ms interesante que mis otras clases.____ Montar en bicicleta es ms econmico que manejar un auto.____ Comer en casa es ms barato (inexpensive) que comer en un restaurante.____ Las pelculas son ms entretenidas que los programas de televisin.____ La msica de Jay Z me gusta ms que la msica de Eminem.____ Los libros son ms interesantes que las revistas (magazines).____ Las fotos son ms bonitas que los videos.____ Hacer mi tarea es ms divertido que pasar tiempo en Facebook.____ El ftbol es ms divertido que el bisbol.____ Los tacos son menos populares que la pizza.____ Mi profesor/a es ms alto/a que yo.

INVESTIGACIN 8B TRESCIENTOS OCHENTA Y CINCO 385c08_B_f.indd 385

12/4/09 1:28:52 PMGo to WileyPLUS and

review the tutorial for

this grammar point.

Paso 2: Escriban tres enunciados en los que usen ms/

menos que cuando ambos/as estn

de acuerdo, como por ejemplo: El programa The Colber

t Report es ms interesante que

American Idol. Compartan sus enunciados con la clase y

escriban cualquier resultado

interesante en sus Retratos de la clase.

Retrato de la clase: En general, hacer la tarea

no es ms interesante que pasar tiempo

en Facebook.

8B.23 Cierto o falso?

Paso 1: Indica si cada uno de los siguientes enunciado

s es cierto o falso.

Cierto Falso

1. Mis amigos son tan inteligentes com

o yo.

2. El ftbol es tan popular en Brasil c

omo el bisbol en la Repblica

Dominicana.

3. El bsquetbol es tan popular en E

stados Unidos como el golf en Mxico.

4. Brad Pitt es tan guapo como Ushe

r.

5. La msica de los Rolling Stones es

tan popular como la msica de

Coldplay.

6. Los deportes son tan populares en

Estados Unidos como la poltica.

Paso 2: Escribe tus propios enunciados en una hoja ap

arte usando elementos de las tres

columnas a continuacin. Luego, lee al menos dos a la

clase, que tratar de adivinar si

para ti el enunciado es cierto o falso.

Ir al gimnasio bonito/a

correr

Mi amigo bailable

los partidos de bsquetbol

La msica salsa divertido/a

mi profesor/a

Los deportes saludable

la msica alternativa

Las fi estas talentoso/a

leer libros

interesante

los juegos de mesa

aburrido/a

mi amiga

guapo/a

Expressing superlatives

Superlatives express ideas such as the biggest, the yo

ungest, the tallest, the smartest, the

most beautiful, the least expensive, etc. Spanish uses t

he following construction:

el/la/los/las ___(noun) ms/menos + adjective.

The noun may be omitted when it is understood thro

ugh context or to avoid repetition.

To indicate the eld of comparison, such as in the wor

ld, in the class, in my family, etc.

Spanish uses the preposition de, not en.

El pas ms grande del mundo es Rusia mientras que

la Ciudad del Vaticano

es el ms pequeo.

La Miss EE.UU. y la Miss Amrica son las mujeres m

s bonitas de este pas.

El gnero literario menos estudiado de todos es el e

nsayo.

There are some irregular superlatives that do not use

ms or menos:

el/la mayor los/las mayores the oldest (pe

ople), the greatest (magnitude)

el/la menor los/las menores the youngest

(people), the least (magnitude)

el/la mejor los/las mejores the best

el/la peor los/las peores the worst

Ricardo es el menor de su familia. Tiene tres herman

os mayores.

Las mejores pelculas del ao son nominadas para l

os premios scar y las peores son

nominadas para los premios Golden Raspberry.

VVELO: LENGUA

386 TRESCIENTOS OCHENTA Y SEIS CAPTULO

8

c08_B_f.indd 386

12/4/09 1:28:53 PM

Vvelo: Lengua This box focuses on simple forms and constructions used for a specific function or purpose and is presented as such with titles like Expressing possession, Giving instructions with infinitives, Describing actions: Adverbs ending in mente, etc. .

Estructuras clave Estructuras clave focuses on form and function, and often asks students to make observations about how a particular structure works before presenting the rules. There are between one and three Estructuras clave sections in an Investigacin, each with an activity set that follows. c

xiv Visualwalkthrough

fm.indd 14 1/27/10 4:00:35 PM

ES

TR

UC

TU

RA

S C

LA

VE

8B.24 Los superlativos artsticos. Completa los espacios en blanco con la persona o el ttulo

que, en tu opinin, corresponda con la descripcin. Comprueba con varios compaeros y

con tu profesor/a, para ver quines tienen las opiniones ms parecidas (similar) a las tuyas.

Apunta la informacin en tu Retrato de la clase.La actriz ms inteligente ____________________

El actor menos egosta ____________________

El/la director/a ms talentoso/a ____________________

La mejor pelcula del ao ____________________

La peor novela que he ledo ____________________

El/la escritor/a ms profundo/a ____________________

La mejor cancin de la primera dcada del 2000 ____________________El peor gnero musical

____________________El programa de televisin menos interesante ____________________El/la pintor/a ms famoso/a

____________________ Retrato de la clase: La persona con opiniones artsticas ms parecidas a las

mas es _____ porque _____.

A veces es necesario hacer conexiones entre una clusula y otra de una oracin. Esto se hace

con palabras como quien, cuyo, y que, entre otras.8B.25 Relaciones dentro de las oraciones. Adivina lo que signifi ca la palabra

subrayada en las siguientes oraciones. Luego, comprueba tus respuestas con la clase.

who

whose that_________ 1. Hoy en da los descendientes de los peregrinos (pilgrims), quienes

inmigraron a Plymouth Rock en el siglo XVII, todava viven all._________ 2. Muchos hispanos, cuyos padres heredaron (inherited) tierra en Texas

bajo el gobierno mexicano, perdieron (lost) su tierra cuando Texas obtuvo su independencia en 1836. __________ 3. Un mural es una obra de arte que expresa conceptos o ideas en forma de collage y que se hace en una pantalla o una pared (wall) dentro o fuera de un edifi cio.

8B.26 Enlaces. Empareja el signifi cado segn el contexto de la palabra subrayada y las

palabras en ingls, abajo. Luego, comprueba tus respuestas con al menos otros dos

compaeros de clase.a. who

b. whose c. that_____ 1. El artista, quien nos puede inspirar, en muchos casos depende de fondos

federales para poder trabajar._____ 2. Algunos polticos quieren eliminar de los programas escolares las asignaturas que fomentan la creatividad, como el arte.

_____ 3. El artista, cuyo arte nos puede inspirar, en muchos casos depende de fondos federales para poder trabajar.

Enlaces

INVESTIGACIN 8B TRESCIENTOS OCHENTA Y SIETE 387c08_B_f.indd 387

12/4/09 1:28:54 PM

8B.26

11A.30 De la gasolina a los biocombustibles. Pr

eviamente leste un artculo sobre

la subida del precio de la gasolina. Ahora, leers cmo

la solucin podra ser

desastrosa tambin en Todos contra los biocombustibl

es. Despus de leer el

artculo, indica con un/a compaero/a de clase si las or

aciones a continuacin son

ciertas o falsas. Busquen informacin en el artculo que

justifi que sus respuestas.

Cierto Falso

1. La produccin de biocombustibles afec

ta a los pases pobres de

una manera positiva.

2. El costo de la comida ha bajado debido

a la produccin de

biocombustibles.

3. Los biocombustibles estn hechos de pl

antas u otras materias

vegetales.

4. Segn varias organizaciones internacion

ales, el costo de la comida

se considera un problema grave.

5. Los problemas econmicos actuales se o

riginaron en Estados

Unidos.

6. Todos estn a favor de la produccin de

biocombustibles.

7. Los pases pobres pueden verse afectad

os negativamente por los

cambios del clima.

8. La produccin de biocombustibles no

tiene ninguna consecuencia

negativa.

La energa del futuro

Se habla mucho en las noticias de la

fabricacin de biocombustibles como

la fuente de energa del futuro. Sin

embargo, la sustitucin de petrleo por

biocombustibles puede generar otros

problemas. Segn varios informes de

la organizacin humanitaria Oxfam, el

aumento del uso de biocombustibles

podra tener consecuencias negativas

para los pases ms pobres del planeta.

504 QUINIENTOS CUATRO CAPTULO 11

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cado segn el contexto de la palabra subrayada y las

palabras en ingls, abajo. Luego, comprueba tus respuestas con al menos otros dos

compaeros de clase.who

b. whose c. that

Perspectivas11A.31 Reacciona! En grupos de tres, determinen si estn de acuerdo o no con las

siguientes declaraciones. Luego, analicen sus respuestas como clase.Estamos de acuerdo? S No

1. Cualquier avance tecnolgico ser intil (useless) si no encontramos

formas limpias y seguras de producir energa. 2. Hay un efecto domin global con respecto a la solucin de la crisis de

energa. Lo que puede ser una solucin para un pas puede daar

a otro. 3. Los pases pobres del mundo estn a la merced de (at the mercy of) los

pases ricos. 4. El descubrimiento de fuentes de energa nuevas yace (lies) en los

recursos inexplorados que se pueden encontrar en pases pobres.

5. Los estadounidenses tendrn que cambiar su modo de vida basado en

la conveniencia para ser como la gente de otros pases desarrollados.

6. La energa nuclear ser la solucin de los problemas de energa del

futuro. 7. Explorar el ocano en busca de petrleo sera la mejor solucin para

la crisis de energa. 8. Los pases en vas de desarrollo han contribuido a la crisis de energa

tanto como los pases desarrollados. 9. La necesidad de encontrar nuevas fuentes de energa debe

predominar sobre la proteccin del medio ambiente. 10. La economa global quedar completamente destruida si no

encontramos nuevas fuentes de energa. Basndose en las respuestas, tienen ustedes una perspectiva optimista o pesimista

sobre la energa del futuro? optimista pesimista Qu piensa la clase en general?

506 QUINIENTOS SEIS CAPTULO 11

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Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

Qu piensa la clase en general?

506 QUINIENTOS SEIS CAPTULO 11 QUINIENTOS SEIS CAPTULO 11

QUINIENTOS SEIS CAPTULO 11

QUINIENTOS SEIS CAPTULO 11

QUINIENTOS SEIS CAPTULO 11

VO

CA

BU

LA

RIO

Vocabulario: Investigacin AVocabulario esencialSustantivosel aeropuerto airportel boleto/ billete ticket

el/la agente de viajes travel agentel avin airplanela autopista highwayel barco boatla bicicleta bicyclela calle streetel camin truckel carro/coche carla carretera roadlas cifras numbers;

fi guresla ciudad cityel cohete rocketel crucero cruise shipla desventaja disadvantagela estacin de autobusesbus station

el ferrocarril trainel ingreso incomela maleta bag/luggageel paisaje landscapeel promedio averageel trfi co traffi cla velasailla ventaja advantageel vuelo (de ida y vuelta)

(round trip) fl ightAdjetivoscaro/a

expensivecorto/a shortlento/a slowlleno/a fullvaco/a empty

Verbosalcanzar to reachandar

adelantadoto be fast

andar atrasado to be slowaprovechar to take advantage ofcaminar to walkcansarle a uno to tire onedemorar(se) to delay; to become

delayeddirigir(se) to direct; to head forfacturar el equipajeto check in luggagehacer fi la to wait in linehacer escala to have a

layover hacer las maletas to pack the bagsir a pie to go by footllevar a to take to; to lead tomanejar/ conducir el carro

to drive the car

montar en bicicletato ride a bike

pasar por aduana to go through customstener lugar to take placetener sueo to be sleepyvolarto fl y

Otras palabras y expresionesajusteadjustmentarrebatar to seizebiocombustible biofuelcaa de azcar sugar canecombustible fuelcrudo/a rawdaar

to damagedesplazar to diplacedesviar to deviateescasez scarcityfatigar to tirefelicidad happinessinalmbrico/a wirelessintiluselesslejanofar

llantas tiresmateria prima raw materialmirada lookmurowallpadecer to suffer

(an illness)peinarse to comb your hairpropsito purposereciboreceiptrecorrer to cover, travelretrasarse to run laterueda

wheelsondeo surveytarifafee

vaporsteam

CognadosReview the cognates in Adelante and the false cognates in Atencin!.For a complete list of cognates, see

Appendix 4 on page 605.

INVESTIGACIN 11A QUINIENTOS SIETE 507

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Enlaces This is a short section with one or two activities that calls attention to connecting words/expressions that students will see in the Contextos reading that immediately follows on the next page. c

Contextos y perspectivas Contextos explores an aspect of the Investigacin theme in a reading selection that highlights a Hispanic perspective on that theme, followed by activities that confirm students comprehension and have them process the information contained in the selection. Perspectivas continues the thematic thread established by the Contextos reading and is comprised of activities designed to foster personal expression and exploration/comparison of cultural perspectives on that theme. m

Vocabulario This is a summary listing of all of the thematic vocabulary introduced in the chapter. Words and expressions appear in list form with their English equivalents. A reminder to review the cognates presented at the beginning of the Investigacin appears at the end of the list. c

Visualwalkthrough x

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8A.20 Antes de leer. Mientras lees en Vvelo: Cultura sobre Sonia Solanilla, una artista panamea cuyo trabajo presenta elementos del realismo mgico, examina su pintura para comprender las caractersticas de ese gnero literario y artstico. Haz una lista de las palabras o ideas que puedan caracterizarlo. Luego, comparte tus respuestas con la clase.

Re ejos de la tierra, por Diana N. Gonzlez

Sonia Solanilla Morales (1975- ), nacida en Penonom, provincia de Cocl, Panam, a travs de su plstica (sus obras de arte) y creatividad, reivindica la riqueza cultural panamea y su in nito amor hacia la naturaleza. Con esa ser una mujer orgullosa (proud) de sus races (roots) y agradecida con la vida. Su talento se dej ver desde nia y una vez nalizados sus estudios secundarios decide profesionalizarse. Estudi Arte y Decoracin en la Facultad de Arquitectura Espaola en Madrid (1975) y en la Escuela Nacional de Artes Mateo Inurria en Crdoba, Espaa (1982).

La adquisicin de estos conocimientos la llev a personalizar su obra pictrica con gran fuerza cromtica y con un demostrado equilibrio entre el realismo de sus personajes y la fascinacin de su contexto basado en lo cotidiano (the day-to-day). Para ella, su obra trasciende de lo esttico para poner al descubierto (uncover) el misterio que habita en el interior de sus personajes.

En mis creaciones podrn ver el retrato de gente comn, la vegetacin voluptuosa y mgica, el estilo colorista e intenso que re ejan la tierra. Su deseo es presentar al espectador un conjunto emotivo y tcnicamente impecable, que nos lleve a decir una vez ms que el arte tiene sentido, asegura la artista. A travs de sus imgenes, impregnadas de colores y paisajes, proyecta ngulos sobre la visin de la humanidad, basada en los sentimientos y las emociones. Se traduce en un re ejo de nosotros mismos, a travs de la percepcin de su creadora.

En sus cuadros, Solanilla deja grabados sus sentimientos diarios, tristezas y alegras. Est muy alerta a las expresiones cotidianas, a lo fantstico en la gente comn, al profundo signi cado de cada gesto y a lo maravilloso de cada destello (sparkle) de luz y color.

VVELO: CULTURA

Fine art photo of painting by Sonia Solanilla, La herencia.

364 TRESCIENTOS SESENTA Y CUATRO CAPTULO 8

c08_A_f.indd 364 12/4/09 1:23:37 PM

impecable, que nos lleve a decir una vez ms que el arte tiene sentido, asegura la artista. A travs de sus imgenes, impregnadas de colores y paisajes, proyecta ngulos sobre la visin de la humanidad, basada en los sentimientos y las emociones. Se traduce en un re ejo de nosotros mismos, a travs de la percepcin de su creadora.

En sus cuadros, Solanilla deja grabados sus sentimientos diarios, tristezas y alegras. Est muy alerta a las expresiones cotidianas, a lo fantstico en la gente comn, al profundo signi cado de cada gesto y a lo maravilloso de cada destello y color.

Fine art photo of painting by Sonia Solanilla, La herencia.

AD

EL

AN

TE

1B.6 Prctica de pronunciacin. In groups of three, take turns saying these phrases and questions without pauses. Use what is between brackets as a pronunciation guide, emphasizing the syllables in bold. Provide feedback to each other.

1. Hay tarea? [ai-ta-re-a]2. Para cundo es? [pa-ra-kwan-do-es]3. Qu pgina? [ke-pa-hi-na]4. Necesito ms tiempo, por favor. [ne-se-si-to-ms-tiem-po-por-fa-bor]5. Lo siento. [lo-sien-to]6. Repita, por favor. [re-pi-ta-por-fa-bor]7. Cmo se dice en espaol? [ko-mo-se-di-se-nes-pa-ol]8. Qu signifi ca tengo? [ke-sig-ni-fi-ka-ten-go]

EXPRESIONES TILES

Tengo una pregunta. I have a question.

No entiendo. I dont understand.

Repita, por favor. Say that again, please.

Necesito ms tiempo, por favor. I need more time, please.

Est bien? Is it okay?

Cmo se dice en espaol? How do you say in Spanish?

Cmo? What? (Used when you didnt hear what was said to you.)

Hay tarea? Is there homework?

Para cundo es? When is it due?

Qu pgina? What page?

Lo siento. Im sorry.

Qu signi ca? What does mean?

1B.7 Cul es la pregunta? With a partner, match each question in Column B with its corresponding answer in Column A. Confi rm your matches and your pronunciation with another group or as a class.

A B

______ 1. S, muy bien. a. Repita, por favor.______ 2. S, estudiar el vocabulario b. Cmo se dice homework en espaol?

de la leccin uno.______ 3. Signifi ca no bsico. c. Cmo?______ 4. Es para maana. d. Para cundo es?______ 5. Pgina veinticinco. e. Qu pgina?______ 6. Repito: Escribe. f. Est usted bien?______ 7. Se dice tarea. g. Hay tarea?______ 8. blah, blah, blah h. Qu signifi ca avanzado?

(unintelligible string of words)

Preguntas y expresiones para la clase

INVESTIGACIN 1B TREINTA Y SIETE 37

c01_B_f.indd 37 12/4/09 1:50:31 PM

Vvelo: Cultura This box explores a cultural phenomenon either generally linked to the chapter topic or more tightly linked to an immediately following activity. c

Conctate This box prompts students to explore the internet to access authentic content relevant to adjacent information and activities. c

Expresiones tiles This box appears when there is an opportunity to introduce high-frequency expressions that might be used in any variety of contexts and which are relevant for an immediately adjacent activity. .

Dichos This box presents Spanish sayings and proverbs along with their English counterparts. m

DiCHOSEntre padres y hermanos no Dont come between family members. metas tus manos.De tal palo, tal astilla. Like father, like son.

En sus cuadros, Solanilla deja grabados sus sentimientos diarios, tristezas y alegras. Est muy alerta a las expresiones cotidianas, a lo fantstico en la gente comn, al profundo signi cado de cada gesto y a lo maravilloso de cada destello

Fine art photo of painting by Sonia Solanilla, La herencia.

Conctate!Would you like to see the world in just a few clicks? Download the free program Google Earth. Start out by typing in your address and see a satellite picture of where you live. Now venture out and explore some Spanish-speaking countries. Zoom in and look at the topography, vegetation, architecture. What countries did you explore? How do their features compare to where you live?

xi Visualwalkthrough

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padre

madre

personalidadlugar de

nacimiento

hermanos profesin

padrelugar de

nacimiento

madre hermanos

personalidad profesin

padre madre

V V E L O !

En vivoLa familia de mi compae

ro/a: You will interview a classmate in order to

create a cognitive map of his or her family. Before begi

nning, you will need to

brainstorm the questions necessary for the interview.

Once you have all the information, write a para

graph about your classmates

parents. Follow the pattern below:

La madre de ____ se llama ____. Trabaja de __

__. Es una persona ____. Naci (she

was born) en ____. La abuela materna de mi compaero

se llama ____ y el abuelo

materno se llama ____.

104 CIENTO CUATRO CAPTULO 2

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12/4/09 2:06:29 PM

I N V E S T I G A C I N A : B i l i n g i s m o e n e l t

r a b a j o

> Antes de ver el video. Answer the following quest

ions:

1. Qu es el bilingismo? El bilingismo es el uso de d

os _____ por (by) una misma

persona o comunidad.

2. Estudias otros idiomas? S, estudio _____.

> El video. Indicate whether the following statements are

ciertos or falsos based on the video.

Cierto Falso

1. Hay ms de 40 millones de hispanos en EE.UU.

2. El abogado se llama Arturo Fernndez.

3. Jaima Tushaus empez a estudiar espaol a los 24 a

os.

4. El programa de radio se llama Soy la ley.

5. El programa comienza en 2003.

6. Las personas hacen preguntas sobre inmigracin

7. Jaima Tushaus habla en espaol con los clientes.

8. Para Jaima Tushaus no es importante estudiar la cultu

ra hispana.

> Despus de ver el video. Rate the following stateme

nts as they relate

to you on a scale of 14 (1 = nada, 2 = poco, 3 = basta

nte, 4= mucho).

Then, share your answers with the rest of the class.

1. Estudio espaol porque quiero viajar a otros pases.

( )

2. No me gusta estudiar espaol.

( )

3. Estudio espaol porque me gusta la cultura hispana.

( )

4. El espaol es importante en mi comunidad.

( )

5. Estudio espaol para ganar ms dinero.

( )

6. Estudiar espaol es importante para trabajar.

( )

I N V E S T I G A C I N B : C r n i c a d e u n a b o d

a

> Antes de ver el video. Choose the appropriate wo

rd to complete each sentence.

a. boda b. bautizo c. quinceaera

d. graduacin

_____ 1. En mayo termino mis estudios y es mi _____.

_____ 2. La _____ de mi hermano con su prometida (fi a

nce) es el domingo.

_____ 3. El _____ del beb se celebra en la iglesia.

_____ 4. La _____ es la fi esta de los quince aos.

> El video. Complete the following sentences with the ap

propriate words from the video.

veintisiete prima suegros dos

bisnietos hijos casada

1. Mis ______ se ven un poco nerviosos.

2. Roci est ______ con Csar.

3. Ana Paula tiene ______ aos.

4. La abuelita tiene ______ nietos y diez ______.

5. Mi ta Graciela es ______ de mi mam.

6. Graciela tiene dos ______.

> Despus de ver el video. Answer the following ques

tions and share

your answers with the rest of the class: Apart from wedd

ings, do you know other

important events or celebrations in Hispanic cultures? A

re they also important

in your culture? What celebrations are important in you

r culture?

Vocabulario til

abogado lawyer

licencia de manejar

drivers license

reglas rules

Vocabulario til

bisnietos/as great grandchildren

comprometido/a

engagedcario affection

estar enamorado/a

to be in love

nervioso/a nervous

por cierto by the way

En directo

CAPTULO 2 CIENTO CINCO 105

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> Despus de ver el video. Answer the following ques

tions and share

your answers with the rest of the class: Apart from wedd

ings, do you know other

important events or celebrations in Hispanic cultures? A

re they also important

in your culture? What celebrations are important in you

r culture?

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO

CAPTULO 2 CIENTO CINCO 105

C A P T U L O 4

You should have recorded information in your Retrato de la clase in conjunction with the following activities:

4A.10 Piensan igual?

4A.11 Ests de acuerdo?

4A.20 Comprensin

4A.23 Ente n de semana

4A.26 Quin de la clase?

4B.21 Quin es quin?

4B.24 A entrevistar!

Retrato de la clase Checklist

202 DOSCIENTOS DOS CAPTULO 4

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Retrato de la clase Checklist This handy check list helps students make sure they are keeping track of class-specific information they are learning from and about each other throughout each chapter. c

Vvelo! This section appears at the end of the chapter and includes conversational, writing, and video activities. En vivo, with one speaking activity and one writing activity engages students in meaningful, purposeful tasks. Writing activities, included from Captulo 3 on, guide students step-by-step through the process of organizing their thoughts, writing a draft, and revising and polishing their work. En directo exposes students to various people and places in the Spanish-speaking world. Activities check students comprehension of the video segment and invite them to share their own thoughts on the themes explored. .

Visualwalkthrough xii

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To receive a review or desk copy of any of these program components, please contact your local Wiley sales representative or call our Sales Office at 1.800.237.2665.

c StudentTextbook PackagedwithTextbookAudioCD 978-0-471-72776-7

ThetextbookisorganizedintotwelveCaptulos,eachofwhichisdividedintotwoidenticallystructuredandthematicallycomplementaryInvestigaciones,andculminatesintheVvelo!sectionwhichincorporateslivelyspeakingactivities,writingtasks,andvideoactivitiesdesignedtogivestudentsaforumtoputtousethelanguagetheyhavelearnedtocreativelyuse.

c AnnotatedInstructorsEdition PackagedwithTextbookAudioCD 978-0-470-55497-5

TheAnnotatedInstructorsEditioncontainssidenoteswithsuggestionsforteaching,meaningfulstructuralexercises,suggestionsforvaryingorexpandingcommunicativeactivities,andaudioscriptsforauralinputrecordedontheaccompanyingCD.Theseannotationsareespeciallyhelpfulforfirst-timeinstructors.

c ActivitiesManual978-0-471-72777-4

TheActivitiesManuallinksreadingandwriting,buildsvocabulary,practicesgrammar,andhelpsstudentsdeveloppersonalexpressionandcompositionskillsthroughavarietyofwrittenandauralactivities.SomeactivitiesareselfcorrectingandtheanswerkeyappearsattheendoftheActivitiesManual.ListeningstrandsfortheauralactivitiesareavailableontheLabAudioProgram,ordigitallyinWileyPLUS.

c LabAudioProgram 978-0-470-50954-8

TheLabAudioProgramiscoordinatedwiththeActivitiesManual.TheaudioprogramisavailableonCDandalsodigitallyinWileyPLUSforstudentsandinstructors.TheaudiotranscriptisincludedonthebookCompanionSiteandinWileyPLUS.

c Vvelo!Video 978-0-470-58107-0

TheVvelo! videoconsistsoftext-specificandculturally-orientedsegmentscorrelatedtoactivitiesinthechapterendingVvelo!section.Throughoutthesegments,studentswillwatchreal-lifeinteractionsbetweennativespeakersofSpanishintheU.S.andabroad,inprofessionalorsocialsettings,inordertoexploreculturaltopicspresentedinthetextbook.Thevideoiscomplimentaryforinstructorsandcanbepurchasedbystudents.Itisalsoavailabledigitallyin WileyPLUS.

Thisonlineteachingandlearningenvironmentintegratestheentiredigitaltextbookwiththemosteffectiveinstructorandstudentresourcestofiteverylearningstyle.WithWileyPLUS,studentsachieveconceptmasteryinarich,structuredenvironmentthatsavailable24/7,andinstructorspersonalizeandmanagetheircoursemoreeffectivelywithassessment,assignments,gradetracking,andmore.WileyPLUScancomplementyourcurrenttextbookorreplacetheprintedtextaltogether.

c ElectronicActivitiesManualWileyPLUSPremiumoffersanelectronicversionoftheActivitiesManualwithitswrittenandauralactivities.Thiselectronicversionallowsinstructorstoassignworktostudentsthatwillbeautomaticallygradedaswellasworkthatcanbemanuallygradedbytheprofessor.WileyPLUSPremiumalsocontainsagradebookthatallowsinstructorstoviewclassstatisticsinavarietyofwaysandthatprovidesstudentswithindividualfeedback.TheelectronicActivitiesManualcanbeaccessedfromanycomputerwithanInternetconnection.

c BookCompanionWebSiteforStudents www.wiley.com/college/young/

TheBookCompanionSiteforstudentscontainscomplimentaryself-tests,internetdiscoveryactivities,andaudioflashcards.

c BookCompanionWebSiteforInstructors www.wiley.com/college/young/

TheWebsiteforinstructorsfeaturesonlineinstructorresourcesincludingWordandcomputerizedversionsofthetestingprogramanddigitaltestaudiofiles.ItalsoincludesthedigitalLabAudiofiles,andonlinePowerPointpresentationsforallsectionsofthechapters,answerkeysfortheActivitiesManualandaudiotranscriptsoftheLabAudio,samplesyllabi,andguidelinesforusingthevideo.

xviii TheCompleTeprogram

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C a p t u l o 1

Paso1:Saludosydespedidas,p.2Paso2:Losnmerosde0a100,p.4Paso3:Losdatospersonales,p.5Paso4:AskingQuestions,p.10Paso5:Subjectpronouns,p.12

V v e l o : L engua cExpressingphonenumbers,p.4cExpressingpossessionI: Mi/mis, tu/tus, su/sus, p.8

V v e l o : Cu l t u r a c T y usted, p.12

InVEST IgAC In 1 ACmo eres y qu te gusta hacer?

InVEST IgAC In 1 BLa clase de espaol y la universidad

Adelante c Yalosabes!Palabrasdescriptivasyacciones,p.16

cWaystogreetothers,p.17cBiendicho:Elalfabeto,p.19

c Yalosabes!Actividadesenlaclase,p.34c Losvaloresculturales,p.36cBiendicho:LinkingsoundsinSpanish,p.36

Palabrasclave c Lasactividades,p.20 cEnlaclase,p.38cAccionesdelaclase,p.41

Estructurasclave 1. TheverbSer, p.25 1.nouns:numberandgender,p.442.Definiteandindefinitearticles,p.46

Vvelo:Lengua cExpressingpreferencesaboutactivities:Me/te/le gusta, p.22

cExpressingoriginwithser, p.28

cExpressingthereis/thereare:Hay,p.39cExpressingownershipwithser,p.47

Vvelo:Cultura c Cuidadoconlosgestos!, p.18 cElpapeldelaiglesia,p.42c Losmalentendidosencontextosescolares,p.52

Contextosyperspectivas Losmalentendidosculturales, p.30 Sistemaseducativos, p. 50