The Past of Pay is Paid

The Past of Pay is Paid The Past of Pay is Paid The Past of Pay is Paid By Maeve Maddox A reader expresses dismay at lapses in the spelling of the past form of the verb pay:    An article in the Burlington (VT) Free Press today had  this heading:   Isle La Motte to vote on spending repayed funds. [W]hen did repayed become an acceptable word?   The answer, of course, is that it hasn’t. Note: a Free Press reader pointed out the misspelling on the paper’s site: repayed Who buyed your English classes? and the misspelled word was promptly corrected. Our DWT reader offers another, more unfortunate example: My friends son received a report card from his teacher that read:   Tate payed attention in class.   Language changes and irregular verbs morph into regular verbs with -ed endings, but some words are in such frequent use that the older forms endure. It’s difficult to understand how someone educated as a teacher or a journalist could fail to master such a basic irregular spelling as paid. The OED does include the spelling â€Å"payed† as a form used â€Å"chiefly in the nautical sense†: pay: v. To smear or cover (a wooden surface or join, esp. the seams of a ship) with pitch, tar, or other substance, so as to make watertight or resistant to damage. Also (occas.) with over. Merriam-Webster lists â€Å"payed† as a past form used for another nautical expression: pay: to slacken (as a rope) and allow to run out For the everyday sense of pay as remuneration, the past tense is paid. Two other common verbs ending in -ay that also change the y to i in the past are say and lay: say/said/have said lay/laid/have laid Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Spelling category, check our popular posts, or choose a related post below:Coordinating vs. Subordinating Conjunctions26 Feel-Good Words

igneous rocks essays

igneous rocks essays En este capitulo, consideramos la familia de las rocas à ­gneas intrusivas - granito, gabro y otras de la misma familia - las cuales se cristalizan, desde su fundicin a grandes profundidades en la corteza terrestre y que luego son traà ­das a la superficie por la erosin de las formaciones superiores. La gnesis desde una fundicin a altà ­simas temperaturas (aprox. 900C), y kilmetros de ascenso imprimen caracterà ­sticas especiales en estas rocas. Tambin consideraremos las particularidades quà ­micas y mecnicas de la inusual roca: serpentina, la cual se origina en el manto terrestre, en algunos casos ascendiendo en estado slido con grandes deformaciones internas. Contrariamente a la serpentina que generalmente presenta problemas desde el punto de vista ingenieril, las rocas granà ­ticas son generalmente consideradas como el mejor aliado de los ingenieros, con buenas cualidades, sin meteorizacin y sin fracturamiento el granito es el prototipo de un lecho de roca. Sin embargo, gen eralmente las rocas granà ­ticas presentan meteorizacin o fracturamiento, o ambas. Esto puede generar muchos problemas. Las rocas granà ­ticas las encontramos haciendo parte de los nà ºcleos de gran cantidad de monta, que se extiende desde las Montan de los Grandes Lagos en U.S.A. Existen escudos similares de rocas granà ­ticas que se encuentran bajo la superficie de Brasil, El oeste de Australia, Africa, Escandinavia y Siberia. Un gran porcentaje de roca de estos escudos se asemeja al granito, pero pueden haberse formado por metamorfismo y no por solidificacin de masa en fusin. Las rocas de tipo granà ­tico tambin pueden encontrarse en masas se...

Discuss the balance between ludological (gameplay) elements and Essay

Discuss the balance between ludological (gameplay) elements and narratological (story) elements in games. Is one more important - Essay Example The ultimate goal of such analysis is to move from a taxonomy of elements to an understanding of how these elements are arranged in actual narratives, fictional and nonfictional.† [Pradl 1984] A typical application of narratological methodologies would include sociolinguistic studies of storytelling and in conversation analysis or discourse analysis that deal with narratives arising in the course of spontaneous verbal interaction. The study of narrative is particularly important since our ordering of time and space in narrative forms constitutes one of the primary ways we construct meaning in general. The narratological approach is characterised by its overriding concern with narrative structure, and the close attention it pays to the effects that this structure has on the shaping and unfolding of narratives. Literary theory and narratology have also been very helpful to understand cybertexts and videogames. Narratology theories are used to bring the aspect of storytelling, a s cenario, a scene, characters and a plot of which the user plays through and experiences and takes part in the story that unfolds. Rhetorically Narratological elements in games, especially in videogames, are somewhat makes them more stunning to public and to players. They somewhat brings the beauty inside the game. The players, sometimes, tend to spend more attention to the story of the game than to the gameplay or the environment of the game. Take along this RPG’s (role-playing games) for example, Star Wars the game, players tend to stay focused and tuned-in on the story than being focused on the interactivity of the game. In other words, they are having the willingness to complete the game mainly because they want to know what happens next in the story. They become eager to advance the game from one level to another for the next plot. Apparently, game designers tend to have their work based on books, epics, legends, myths, heroes, or even on films. By this, they attract play ers more. As far as Narratology is concerned and used in videogames and in cybertexts, here comes ludology - â€Å"the academic study of videogames† [Keats 2006]. Using narratological elements as framework in designing a game is indeed very useful, yet it cannot be the only framework to be applied. Ludology from the words ludus means game and logus study. It speaks of the gameplay of a game. It scrutinizes the interactivity of the game. The acts you will make in order to move inside the game, the graphics, the setting, colours, sizes and shapes, etc. It talks about how the game will appear on screen. Ludology is obviously widely used in games. It is where critiques site their comment. They would not say â€Å"This game sucks. It has a vague story.† The ludology perspective is useful and can stand alone than narratology is. It directly applies to some games. For example players do not play tetris for a story. They would not bother asking â€Å"Where is entertainment he re? Where is the story?† Also in popular games like Mario by Nintendo are better suited as a game and criticised on its gameplay and graphics rather than on the story. Most players tend to play a Mario game not to see if Mario meets Princess Peach but for each level’s design and other gameplay elements that make the game more exciting. Narratology and ludology are being opposed by most. However, these two adjacent and independent perspectives must be clearly understood to arrive on to a bigger