List of Connectors

1. Linking words for essays, reports, papers

listing

firstly, secondly ...

to begin / start with ..., to conclude with

in the first place, in the second place

next , then , finally, last(ly)

to conclude ...

last but not least ...

to summarise , to sum up

adding

also, too, then

furthermore ...

moreover ...

in addition to that ...

above all ......

what is more ...

additionally

comparing

equally, likewise, similarly, in the same / a different way

compared to / with, in comparison with

as ... as , both ... and ...

you can´t compare it with ...

concluding

all in all...  /  in conclusion ...

to sum up ...

I draw the conclusion / arrive at the conclusion that ...

I conclude ...

consequently ..

exemplifying

for example (e.g.), for instance

that is (i.e.)

that is to say

... such as ...

namely ...

result

consequently

hence

therefore

thus

as a result

because of that ...-

that´s why ...

reformulating

 to put it another way

in other words

alternative

on the one hand... , on the other hand ...

contrasting

on the contrary

in contrast to that

but , yet, however

nevertheless ...

whereas ..., while ...

neither .... nor ...

on the one hand ..., on the other hand ...

concession

besides, however, still, though,

in spite of that, despite that

admittedly

if , unless

2. Giving one´s own opinion

In my view; To my mind, In my opinion, As I see it,

I think that , I believe that , I have come to the conclusion that,

I would not say that ..., Therefore I cannot agree with ...,

I am doubtful whether / certain that ...

According to the text ...

It seems to me that ...

Another argument is that ...

As far as I am concerned, ....

One reason is that ...

I would say that ...

As we have seen, ...

As we know from ...., ...

For all these reasons I would support the view that ...

As a result ...

In short ...

With regard to ...

It is for this reason that I think ...

I am convinced that ...

I feel that ...

CONNECTORS

Sentence Connectors are a great way of improving your English. Why? Because we use them to express relationships between ideas and to combine sentences.

When we begin learning a language, we speak in very basic sentences, a bit like children.
Example: “London is a very exciting city. London is very expensive.”

As we learn more words and more complex sentence strucure, we are able to start using sentence connectors to make more sophisticated sentences.
Example: “London is a very exciting city; nevertheless it is also very expensive” or
“Despite the fact that London is very expensive, it is also very exciting”

There are various types of connectors. We can divide them into:

1.             Coordinating Conjunctions – They connect words, phrases and clauses. They are usually found in the middle of a sentence with a comma (,) just before the conjuction, or at the beginning of the sentence.
Coordinating Conjunctions:

for      and      nor      but      or      yet      so (remember FANBOYS)

1.             Correlative Conjunctions – They connect equal sentence elements together (like two nouns) and are always composed by two words.
Correlative Conjunctions:

both…and not only…but also not…but either…or neither…nor whether…or as…as

1.             Subordinating Conjunctions- They connect a dependent clause and an independent clause and establish a relationship between them. They happen at the beginning of a sentences (with a comma in the middle separating the clauses) or in the middle of a sentence with no comma.
Subordinating Conjunctions:

after	if	though	although
if only	till	as	in order that
unless	as if	now that	until
as long as	once	when	as though
rather than	whenever	because	since
where	before	so that	whereas
even if	than	wherever	even though
that	that	while

1.             Linking Adverbs and Transition Words- They connect two independent clauses or sentences. They provide transition between ideas.
Linking Adverbs and Transition Words:

accordingly	however	nonetheless	also
indeed	otherwise	besides	instead
similarly	consequently	likewise	still
conversely	meanwhile	subsequently	finally
moreover	then	furthermore	nevertheless
therefore	hence	next	thus

http://www.inhotim.org.br/

History The concept of Instituto Inhotim was first visualized by entrepreneur Bernardo Paz in the mid 80's. In 1984, the site was visited by famous landscape artist Roberto Burle Marx, who made some suggestions and contributions regarding the gardens. Since then, the original landscaping project has grown and undergone modifications.

The private estate was slowly transformed into a major cultural space, with the first buildings being erected to receive contemporary art works. In parallel, the  botanical assets also grew, receiving an important increment in 2005 through the rescue and introduction of botanical collections from various regions in Brazil, with special focus on native species.

The city of Brumadinho, with 30 thousand inhabitants, is located in the valley of the Paraopeba River and has a great number of natural, historical and cultural assets.

The municipality covers an area of  634.4 km2, almost 157 acres, and is located in the Espinhaço Massif, at the beginning of the so-called Western Tableland. The settlement dates back to the Emboaba War in 1708, when people rose against the stringent demands of the Portuguese Crown and went there prospecting for gold. In 1832, Regent Feijó officialized the Bonfim do Paraopeba as well as the Matheus Leme and Piedade do Paraopeba townships. The district was created in 1923 and was emancipated in 1938, being separated from Bonfim, which became part of the Belo Horizonte metropolitan area.

The region counts among its attractions the Fazenda dos Martins, the seat of an old farm which is in the area of Marinhos. The buildings are the work of slaves, with dry-stacked stone walls, and inside the house the walls and ceilings are painted in the style of the 18th century.

There is also Piedade do Paraopeba, one of the oldest villages in the State of Minas Gerais, whose main church of Our Lady of the Rosary dates back to 1729. Another tourist attraction is the church of São José do Paraopeba, built in December of 1751 at the request of Father Antonio José de Moura.

Free slaves formed the "quilombola" of Sapé. This community upholds its old traditions of Congado and Guarda de Moçambique, folkloric/religious dances of African origin.

  Inhotim currently possesses about 70 artworks on display, which include permanently installed works as well as those exhibited in four galleries that house long-term shows on a temporary basis: the galleries of the Fountain, Lake, Forest and Square.

Inhotim's museological proposal comprises different exhibition spaces. Many artworks are exhibited in the open air, in a garden, in the forest, at the top of a mountain, or in a reflecting pool. Other artworks are found in closed spaces, individually displayed in pavilions built especially to house them, or as part of group shows in large galleries. The coexistence of open and closed spaces encourages a singular experience in the appreciation of the artwork.

Another thing adding to the uniqueness of Inhotim's museological space is the absence of a preestablished linear exhibition path, with a mandatory order, or a predominant perspective. The trails crossing organically through the park offer myriad freely chosen routes between the open-air artworks and the galleries.

A large part of the artworks exhibited at Inhotim are permanent installations, and many of them were realized as site-specific works. In response to invitations, the artists develop projects especially for Inhotim, taking into account the natural and cultural characteristics of the locale. Often, these artworks are the result of various years of work, based on intensive dialogs between the artists, curators, architects, landscapers, producers and other professionals involved. The opportunity offered by Inhotim for artists to create projects requiring complex installation and maintenance is one of the aspects that sets it apart from other institutions in the international context. A number of artworks with these characteristics were inaugurated in 2009, including Sonic Pavilion (2009), by Doug Aitken, De lama lâmina [From Mud, a Blade, 2009], by Matthew Barney, and Piscina [Pool, 2009], by Jorge Macchi.

Like the site-specific artworks, the sculptures displayed in the gardens are essentially associated with the place where they are permanently installed. When installing a sculpture, artists and curators research the localization and offer the best conditions for the work’s specificities, establishing a dialog between the artwork and its surroundings.

Inhotim also possesses galleries and pavilions especially constructed to permanently house the artworks of a determined artist. The Cildo Meireles and Adriana Varejão galleries, respectively inaugurated in 2004 in 2008, exhibit a select sampling of the artworks of these two great names in Brazilian contemporary art. For its part, the Doris Salcedo Gallery, opened in 2008, was designed to house a single artwork, Neither (2004), by the Colombian artist following the model of the True Rouge Gallery, opened in 2004, dedicated to the eponymous artwork by Tunga. The artworks La intimidad de la luz en St Ives [The Intimacy of the Light in St Ives, 1997], by Victor Grippo, and Continente/Nuvem [Continent/Cloud, 2007], by Rivane Neuenschwander, were installed in buildings remaining from an old farm, especially restored to receive them, and inaugurated in 2008 in 2009, respectively.

Inhotim has four galleries of about 1000 square meters each to house long-term but temporary exhibitions of works from the institution's collection. These shows explore thematic cross-sections and offer new approaches and interpretations for the collection. In the Forest and Lake galleries, the shows are organized according to titles that indicate common interests and affinities, indicating possibilities for dialogs between the artworks and their readings.

Forest Gallery is showing artworks by Anri Sala, Dominique Gonzalez-Foerster, Haegue Yang, Iran do Espírito Santo, Jonathan Monk, Jorge Macchi and Olafur Eliasson.

The artists featured in Pontos de vista [Points of View] belong to a generation born after 1960 and linked to different artistic and geographic contexts. What unites them in this exhibition is a renewed interest in the process by which the viewer perceives form, seeking new types of connections between the senses and the mind. In their works, the reflection on the engagement of the viewer in the artistic experience is a direct source of inspiration.



Fountain Gallery

The show Lugares [Places] includes works by Alessandro Pessoli, Allora & Calzadilla, Anri Sala, Jorge Macchi, Marepe, Rivane Neuenschwander and Cao Guimarães, and Steve McQueen, all born after 1960.

By way of sculptures, videos, drawings and paintings, the exhibition brings the viewer down a path that begins at an almost domestic dimension, leads through micro- and macro-cosmology, to finally return to intimate images. Lugares refers to specific geographic localizations as well as universal narratives.

Lake Gallery

Galeria Lago is divided into four large installations of de Artur Barrio, Chris Buden, Hélio Oiticica & Neville D'Almeida and Navin Rawanchaikul & Rirkrit Tiravanija.  The first space if dedicated to US artist Chris Burden, whose work Samson (1985) is prominently displayed at the entrance. This is a device connecting a turnstile to a mechanism which presses the walls of the gallery, portrait of a period in which the artist challenged the museum as a dedicated art space, practically destroying it.

Artists  Rirkrit Tiravanija and Navin Rawanchaikul occupy another hall, where they exhibit Cities on the Move (1997), shown in its totality for the first time. This represents an esthetic, social and documental investigation of the tuk-tuk, the most popular means of transportation in Thailand.

Artur Barrio, a Portuguese citizen living in Brazil, is a referential artist for Brazilian art. At the Galeria Lago, he presents a major installation, , O Ignoto (1996), originally shown at the XXIII Biennale of São Paulo, formed of sea salt which covers the floor, a bicycle, lamp bulbs and other elements which form the path proposed by the work.

Still at Galeria Lago, Inhotim once more shows Cosmococa 5 - Hendrix War (1973) , a revolutionary work by Hélio Oiticica and Neville d'Almeida. This work is part of a series of five Cosmococas produced by the team in the seventies.

Square Gallery

Galeria Praça will show new montages of works by Alexandre da Cunha, Ernesto Neto and Janine Antoni.

Nave deusa (1998), by Ernesto Neto, will be installed once more in the gallery. This work is part of a series of artworks which the artist calls "ships", sculptures made of cloth planes which can be entered by the visitor. Nave Deusa is one of the first sculptures of this important group of works by this artist.

By Janine Antoni there will be Swoon (1997), an installation with three spaces, with projection, series of mirrors, theatrical elements and audios which lead the viewer to gradually discover the work and understand the artist's conception. Antoni already had one of her works displayed in Inhotim previously, called To draw a line (2003).

Forty part motet (2001), by Janet Cardiff, will remain on display for the next two years. Galeria Praça also has a permanent installation of the works Rodoviária de Brumadinho (2006) and Abre a porta (2005), by John Ahearn and Rigoberto Torres, conceived by the artists´ in Inhotim.

Landscaping - Paisagismo

Entrepreneur - Empreendedor

Undergone modification Passou por uma reforma

Asset - Propriedade, Patrimonio

Tableland - planalto plateau

Settlement - assentamento

Township - municipio

Prospect -  garimpar

Stacked - empilhado

VOCABULARY

WIND UP - ENCERRAR

LOSS - PERDA

RATAIL - VAREJO

WHOLESALE - ATACADO

EVENTUALLY - FINALMENTE

HOWL - ROSNAR

CONNECTORS

1 -http://www.englishexercises.org/makeagame/viewgame.asp?id=1792

2 - http://pt.scribd.com/doc/19128733/Exercises-on-Connectors

3 - http://www.grammar-quizzes.com/9-1.html

4 - http://www.englishdaily626.com/sentence_connectors.php?005

TOEFL

EXERCISE 1

http://www.learn4good.com/languages/toefl/toefl_stan_test1.htm

Wislawa Szymborska, Poet Of Gentle Irony, Dies At 88­

The path to international fame as a poet generally doesn't involve writing short poems about sea cucumbers. Yet for the Polish poet Wislawa Szymborska, who won the Nobel Prize in 1996 and died Wednesday, the little things — onions, cats, monkeys, and yes, sea cucumbers — turned out to be very big indeed.

A popular writer in Poland for many years, Szymborska became a reluctant international literary celebrity after her Nobel win.

Szymborska is an ironist. But in her work, irony becomes playful, almost whimsical. She thinks of the poet as an acrobat who moves, as she puts it, with "laborious ease, with patient agility, with calculated inspiration."

Szymborska's poems generally focus on everyday subjects or situations, and her tone stays firmly in the middle ground. She doesn't rant; she calmly assesses. She's a poet of dry-eyed, athletic precision: an acrobat, as she says, not a powerlifter. Here is how she begins a poem called "Under One Small Star" (all quotations are from translations by Stanislaw Baranczak and Clare Cavanagh):

My apologies to chance for calling it necessity.
My apologies to necessity if I'm mistaken, after all.
Please, don't be angry, happiness, that I take you as my due.
May my dead be patient with the way my memories fade.
My apologies to time for all the world I overlook each second.
My apologies to past loves for thinking that the latest is the first.
Forgive me, distant wars, for bringing flowers home.
Forgive me, open wounds, for pricking my finger.

And the poem concludes:

Don't bear me ill will, speech, that I borrow weighty words
then labor heavily so that they may seem light.

Yet if Szymborska's touch is gentle, it can still burn or freeze. Consider her sea cucumber (or "holothurian") poem, which is called "Autotomy." The poem begins:

In danger, the holothurian cuts itself in two.
It abandons one self to a hungry world
and with the other self it flees.

It violently divides into doom and salvation,
retribution and reward, what has been and what will be.

An abyss appears in the middle of its body
between what instantly becomes two foreign shores.

Life on one shore, death on the other.

The sea cucumber can become two parts, one living, one dead. Szymborska compares this to the way in which writers have long argued that when they died, their work would live on — granting them a kind of immortality. But Szymborska is skeptical. She doesn't think anyone exists outside of time, or that writing poetry is a matter of falling on the right side of an abyss. As she puts it in the poem's conclusion:

Here the heavy heart, there non omnis moriar —
Just three little words, like a flight's three feathers.

The abyss doesn't divide us.
The abyss surrounds us.

The ending of the poem could seem grim. After all, she's suggesting that there is, in the end, no way to cheat time. But if that's the case — if we can't continually evade death — then this is at least something we all share. It's no surprise that her poem is dedicated to the memory of one of her friends.

Szymborska has now fallen into the very abyss that she wrote about with such understated passion. And yet it's hard not to think that, with all her delicate power, she somehow still walks on air above us.

http://www.npr.org/2012/02/02/146281183/wislawa-szymborska-poet-of-gentle-irony-dies-at-88