Guía inglés ii 2014 2 by Albis Tovar

UNIVERSIDAD CENTRAL DE VENEZUELA FACULTAD DE HUMANIDADES Y EDUCACIÓN ESCUELA DE PSICOLOGÍA CÁTEDRA DE INGLÉS

INGLÉS ACADÉMICO II

PROFESORA MARIANA MORALES SEMESTRE 2014/2

INTRODUCCIÓN

Esta materia corresponde al nivel II de comprensión de lectura en inglés para los estudiantes de la Escuela de Psicología de la Universidad Central de Venezuela.

Inglés I es el inicio del desarrollo de estrategias para la comprensión de la lectura como un proceso dinámico e interactivo. En este nivel II el estudiante se involucra con nuevas estrategias (e.g. distingue ideas principales de las secundarias, parafrasea para reconstruir el contenido de un texto a resumir, etc.) que le permiten facilitar el procesamiento de la información obtenida del texto.

El material de lectura incluye los temas Creatividad y Personalidad. Realizaremos actividades para desarrollar la competencia comunicativa del estudiante, haciendo especial énfasis en la competencia lingüística y discursiva. Esto junto con el conocimiento del mundo y la experiencia previa resultará en una comprensión apropiada del texto.

Invitamos a los estudiantes a recordar los conocimientos adquiridos en Inglés I, a seguir explorando la habilidad que tienen para leer y a aprender nuevas estrategias para una mejor comprensión de la lectura.

3 EL TEXTO Cuando hablamos de lectura podríamos pensar que se trata sólo de leer libros o escritos formales, sin embargo diariamente leemos diferentes clases de textos, por ejemplo, las etiquetas (en las cajas de cereal o de medicamentos, en la ropa), instrucciones (señales en la calle, como poner a funcionar el microondas), propagandas (en TV, en revistas, en carteleras) notas (mensajes, listas de compras, menús). Un texto puede estar formado de pocas palabras, de una oración, de miles de palabras que forman miles de oraciones. (Aebersold& Field, 1997). Los textos al mismo tiempo que comunican información, expresan el tipo de organización interna que el autor impone a la información al comunicar sus ideas. De esta manera, cuando leemos un texto estamos en presencia de dos aspectos importantes para la comprensión: el contenido y la estructura organizativa de ese contenido. El primero tiene que ver con el tema o área específica del conocimiento y el segundo con la estructura del texto o la manera como las ideas se interrelacionan para formar un todo coherente. (Amat en Puente, 1991). La organización del mensaje responde al propósito que el autor quiere lograr a través de su comunicación escrita, dando origen a diferentes tipos de discurso (e.g. descriptivo, narrativo, expositivo, argumentativo, instructivo). Para exponer su pensamiento y lograr su propósito, el autor recurre a diferentes formas de organización interna (retórica) del discurso que se pueden reconocer por la presencia de algunas señales lingüísticas claves (e.g. los conectores). (Bruno de C. y Beke, 1996)

Creativity An overview PRE-READING ACTIVITY: The following sentences are the first ones of the text we are going to read. Use them to talk about what the text might be about. Are these sentences connected?  In the most diverse cultures, the concept of creativity arises in myths that try to explain the origins of life.  It is often said that in the European tradition, the first individual to be recognized as creative was Michelangelo.

 In psychology, creativity usually refers to the production of any idea, action, or object that is new and valued.

6 READ THE TEXT CAREFULLY Class of text: Article of an encyclopaedia (extract)

CREATIVITY An overview In the most diverse cultures, the concept of creativity arises in myths that try to explain the origins of life. The Judeo-Christian tradition is typical in this respect: the Bible starts with an account of how the supreme being created a world from chaos and crowned his efforts with the shaping of human beings. Until quite recently, creativity was assumed to be a divine prerogative. Artists or poets did not have original ideas, but were inspired by the voice of a muse. Until the Renaissance, when an artist or thinker came up with something new, it was attributed to the rediscovery of ancient knowledge rather than to an individualâ&#x20AC;&#x2122;s unique contribution. It is often said that in the European tradition, the first individual to be recognized as creative was Michelangelo. By the Renaissance, human agency began to be seen as having a certain freedom and independence, and thus the possibility of an individual making something new through his or her own powers became conceivable, but it was still restricted to the highest levels of human accomplishment. Ever since, the concept of creativity has expanded to cover more and more ground. As the Romantic worldview pervaded the West, every young poet or painter took on the mantle of creativity. In the late twentieth century, the finger paintings of toddlers or variations on a cooking recipe are said to be creative if they depart in some respect from conventional standards. In psychology, creativity usually refers to the production of any idea, action, or object that is new and valued. By extension, a creative person is one who stands out from the norm by producing such ideas, actions or objects. Such a simple definition, however, raises a number of important questions. For instance, how new does the product have to be? Do the most novel drawings in a kindergarten class qualify, or only those works that change the history of art? Furthermore, how valuable does the product have to be, and whose evaluation counts? Is it enough for the person to feel that the product is novel and valuable, or does one need the approbation of experts before a claim to creativity can be accepted? These are not just academic questions, because unless a definition is agreed upon, entirely different phenomena can be included under the term. In this article, I shall consider creativity in the stricter sense, as an idea or product that changes the culture the way we see and understand the world, the way we act and live. CsikszentmihalyiMihaly. (2000). Encyclopedia of Psychology. Vol.2. American Psychological Association.O.U.P.

DURING READING ACTIVITIES:

7 COMPREHENSION REFERENCES: a. his (line 3): b. it (line 6): c. his or her (line 11): d. they (line 15): e. that (line 17):

TRUE OR FALSE? Decide if the statements below are true (T) or false (F). Write the sentence from the text that supports your answer. a. The concept of creativity comes up from people beliefs in their attempt to answer how the world and mankind began. ________________________________________________________________________________ ____________________________________________________________________________ b. The supreme being perfected his creative efforts with the creation of the earth. ________________________________________________________________________________ ____________________________________________________________________________ c. It has always been assumed that creativity is a divine privilege. ______________________________________________________________________________ ______________________________________________________________________________ d. By the Renaissance on, new things made up by humans began to be considered as creative. ________________________________________________________________________________ ____________________________________________________________________________ e. In psychology, creativity usually refers to the production of an artistic or scientific idea that is new and valued. ________________________________________________________________________________ ____________________________________________________________________________ f. The definition of creativity stated in Psychology produces some doubts. ________________________________________________________________________________ ____________________________________________________________________________ g. The author of this article adheres to the concept of creativity stated in Psychology. ________________________________________________________________________________ ____________________________________________________________________________

8 MAIN IDEAS, EXPANSION OF IDEAS AND EXAMPLES A well-constructed paragraph often revolves around a main idea/thought/point. The main idea is the one which a paragraph, a story, an article talks about. This idea/thought/point can be expanded or supported by secondary ideas related to the same topic and sometimes clarified or illustrated by examples. From D.D. Sim and B. Laufer-Dvorkin (1982).Reading Comprehension Course.Selected Strategies. Collins ELT

WRITE IN SPANISH THE MAIN IDEA FOR EACH PARAGRAPH AND THE SUPPORTING ONE(S) IN THE SPACES GIVEN BELOW. Paragraph I Main idea:

a.______________________________________________________ ________________________________________________________ ________________________________________________________

Supporting idea(s):

b.______________________________________________________ ________________________________________________________ ________________________________________________________ ________________________________________________________ ________________________________________________________

Paragraph II Main idea:

a.______________________________________________________ ________________________________________________________ ________________________________________________________

Supporting idea(s):

Paragraph III

9 Main idea:

a.______________________________________________________ ________________________________________________________ ________________________________________________________

Supporting idea(s):

VOCABULARY These words appeared in the text. Complete the following table: WORD

PART OF SPEECH

MEANING (according to the text)

Account Being Crowned Pervaded Raises Claim

Write down a sentence in English with the words from the table. a. ___________________________________________________________________ b. ____________________________________________________________________ c. ____________________________________________________________________ d. ____________________________________________________________________ e. ____________________________________________________________________ f. ____________________________________________________________________

10 LANGUAGE STUDY

A phrasal verb is a verb followed by a particle (it can be an adverb like down, a preposition like on, or some combination of the two) which together have a single meaning. Phrasal verbs extend the usual meaning of the verb or create a new meaning.depending on the context, phrasal verbs can have more than one meaning. The preposition in a phrasal verb can be sometimes moved to the end of the sentence Examples:  I had to look after the kids = Tuvequecuidar a los niños.  Please sit down =Siéntese, por favor.  Could you turn on the TV? = ¿Podríasencender el televisor?  She always gets up at 6 in the morning = Ella siempre se levanta a las 6 am. From CollinsCobuild English Usage. HarperCollins Publishers.

Match the Phrasal Verbs and Meanings Four of the phrasal verbs on the left of the page appeared in the text we have just read. Match each of them with its corresponding meaning by drawing a line. Use them to write sentences in the given spaces. Come up with

To start acting or behaving in a slightly different way

Depart from

To reach a joint decision on something

Bring about

To be noticeable, distinctive or prominent

Agree upon

To suggest or think of a plan, idea or solution

Grow up

To become an adult

Stand out

Cause to happen, occur o exist

Sentences: a._____________________________________________________________________ b._____________________________________________________________________ c. ____________________________________________________________________ d. ____________________________________________________________________

11 Given the following verbs, think of a preposition or an adverb that you could place after the verb in order to create a phrasal verb. Look up the meaning of the phrasal verb in the dictionary and write a sentence. Examples: Verb: Break

Preposition or adverb: up

Phrasal Verb: Break Up

Meaning of the Phrasal Verb: Terminar una relaci贸n sentimental Sentence: My girlfriend likes someone else. We are going to break up.

Verb: Throw

Preposition or adverb: away

Phrasal Verb: Throw away

Meaning of the Phrasal Verb: Tirar o botar cosas que no tienen utilidad Sentence: She threw away yesterday's newspaper

Now it is your turn: Verb: Take

Preposition or adverb: _________________

Phrasal Verb: _______________

Meaning of the Phrasal Verb: _______________________________________________________ Sentence: _______________________________________________________________________ Verb: Look

Preposition or adverb: _________________

Phrasal Verb: _______________

Meaning of the Phrasal Verb: _______________________________________________________ Sentence: _______________________________________________________________________ Verb: Get

Preposition or adverb: _________________

Phrasal Verb: _______________

Meaning of the Phrasal Verb: _______________________________________________________ Sentence: _______________________________________________________________________ Verb: Come

Preposition or adverb: _________________

Phrasal Verb: _______________

Meaning of the Phrasal Verb: _______________________________________________________ Sentence: _______________________________________________________________________

12 THE PASSIVE VOICE Passive constructions are frequently used in academic writing, which often emphasizes a resulting action rather than the agent that performs the action (doer). Passives are also frequently used in official correspondence and in instructions. It is therefore important to know how to form the passive and to know when its use is appropriate. Observe the difference: ACTIVE subject agent + verb action + object receiver

. The voice of a muse

inspired

artists or poets

PASSIVE object receiver

+ form of to be + past participle + by + agent

. Artists or poets

were

inspired

by the voice of a muse

A passive construction includes the following elements in this order: 1. An object receiver in subject position 2. a form of BE in the same tense as the verb in the active sentence 3. the past participle of the main verb 4. optional: by + agent The passive is a form used mainly to express impersonal actions. It is in many instances possible to translate the passive into Spanish by using the impersonal form se when the agent is not given:

. Creativity was assumed to be a divine prerogative.

. Se asumĂa que la creatividad era una prerrogativa divina Martin et al. (197): From Guide to language and study skills. Prentice-Hall , Inc., Englewood Cliffs, New Jersey 07632 BolĂvar, A. (1976): An English course for students of psychology. Ediciones FHE.

Translate into Spanish the following verbal groups. a. was assumed to be (I.4)________________________________________________ b. were inspired (I.5)_____________________________________________________ c. was attributed (I.6)____________________________________________________ d. is (often) said (II.1)___________________________________________________ e. to be recognized (II.1)_________________________________________________ f. began to be seen (II.2)_________________________________________________ g. was (still) restricted (II.4)_______________________________________________ h. are said to be (II.8)____________________________________________________ i. can be accepted (III.8)_________________________________________________ j. is agreed upon (III.9)__________________________________________________ k. can be included (III. 9-10)_____________________________________________

THE GERUND THE â&#x20AC;&#x201C;ING FORM OF THE VERB 1. Read the following sentences and pay attention to the underlined words. Do the activities below: 1. The supreme being crowned his efforts with the shaping of human beings. 2. ... variations on a cooking recipe are said to be creative if they depart in some respect from conventional standards. 3. Many people are producing creative ideas and actions. a. Translate the sentences into Spanish. 1._____________________________________________________________________ 2._____________________________________________________________________ 3. ____________________________________________________________________ b. Which of the underlined words describes an action?

c. Which of the underlined words tells you more about the noun?

d. Which of the underlined words is a noun?

Gerundios y Participios Presentes Una de las mejores maneras de distinguir la forma â&#x20AC;&#x201C;ing como participio presente del gerundio es recordar que el gerundio funciona como nombre mientras que el participio presente funciona como adjetivo, adverbio o verbo (continuo o progresivo) (Celce-Murcia y Larsen-Freeman, 1983. TheGrammar Book). En 1 beingy shaping son nombres. Son gerundios. En 2 cookinges un adjetivo En 3 producing es un verbo

Son participios presentes.

Major functions of gerund: Para formar el gerundio en inglés se agrega 'ing' al verbo en infinitivo. El gerundio es un sustantivo derivado del verbo, entonces puede tener cualquiera de las funciones del sustantivo. 1.    

Sujeto Running keeps me fit. Swimming has always been my passion. Quarrelling will get us nowhere. Reading French is easier than speaking it.

2. Complemento del verbo "to be".  The best way to see different cultures is travelling.  My favorite occupation is reading. 3.   

El gerundio se usa en prohibiciones cortas que no lleven ningún objeto: No smoking No loitering No spitting

4. El gerundio se usa después de ciertos verbos (objeto) A. Algunas veces utilizamos un verbo siguiendo a otro verbo. Con frecuencia el segundo verbo está en infinitivo. Por ejemplo:  I want to eat. B. Pero algunas veces el segundo verbo debe ir en gerundio. Por ejemplo:  I dislike eeating. Esto depende del primer verbo. A continuación una lista de verbos que con frecuencia van seguidos por un gerundio. Admit Adore Anticipate Appreciate Avoid Carryon Consider Defer Delay Deny Detest Dislike

Dread Endure Enjoy Escape Excuse Face Fancy(imagine) Feellike Finish Forgive Give up Keep(continue)

Imagine Involve Leave off Loathe Mention Mind Miss Object Pardon Postpone(suggest) Practise Prevent

Postpone Put off Recollect Remember(recollect) Report Resent Resist Risk Stop Save (oneself the trouble of) Suggest Understand

C. Observa los siguientes casos:      

She is consideringhaving a holiday. Do you feel likegoing out? I can't help (prevent/avoid)falling in love with you. I can't stand(endure) not seeing you. It’s no use/no good arguing with you. I doubt that it wasworthworkingso hard

D. Algunos verbos pueden ir seguidos por un gerundio o por un infinitivo sin que haya grandes cambios en el significado. Porejemplo: begin, continue, hate, intend, like, love, prefer, propose, start .  I like to play tennis or I like playing tennis.  It started to rain or It started raining. 5. Después de las preposiciones (objeto de la preposición) Siempre se usa un verbo en su forma de gerundio después de una preposición.      

Mr. Johnson is thinking about selling the company. Close the door after leaving! We're looking forward to meeting our new grandson. I want to visit uncle Frank before going back to Canada. They won't be able to enter without paying. Dave has been arrested for stealing a TV set.

6. El gerundio puede tomar modificadores de verbos y de sustantivos, tales como

posesivos, adverbios y adjetivos.  Paul's snoring never let Jane sleep.  Peter had considered not going to the party.  We were tired of his constant complaining. 7. Los gerundios también pueden modificar a los sustantivos. En este caso el

gerundio se refiere al propósito.  I need a new pair of running shoes. (shoes for running)  Have you seen grandpa's walking stick? (stick that a person uses to lean on while they are walking)  Sarah's painting book had been a gift from Jill. (a book used for learning how to paint)  That sleeping bag won't be enough. (a bag used for sleeping) 8. El gerundio puede tener sentido pasivo:

A. Con frecuencia se utiliza el gerundio después de los verbos need, require y want en sentido pasivo.  I have three shirts that need washing (need to be washed)  This letter requires signing (needs to be signed)  The house wants repainting (needs to be repainted)

B. El gerundio también puede tener sentido pasivo al usar being + participio pasado  Being accepted to Harvard University was the greatest day of my life.  I remember being taken to Paris as a small child.

C. Cuando una cláusula contiene la forma having been + past participle:  The safe showed no signs of having been touched.

D. El gerundio también se usa en sentido pasivo al usar getting + past participle  Getting scared by that movie made us leave before it finished

9. El gerundio puede tener sentido perfecto (having worked, having spoken)

Puede utilizarse en lugar de la forma presente del gerundio (working, speaking) cuando nos referimos a una acción pasada:  He was accused of deserting his ship.  He was accused of having deserted his ship. 10. The perfect gerund is fairly used after deny:  He denied having been there. Taken from: shertonenglish.com  EnglishClub.com  Myenglishteacher.net A Practical English Grammar (Oxford) 

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En español el gerundio es la forma no personal del verbo, termina en ando (1ª. Conjugación amado) o en iendo(2ª. y 3ª. Conjugación – comiendo/riendo) y expresa la acción como ejecutándose en el presente. El gerundio no lleva marcas de número, persona, tiempo y modo. e.g. Isabel ganó un premio en el colegio escribiendo versos.

EXERCISES: 2. Say the function of the gerund:  Lacking self-confidence is one of the obstacles to creativity. ________________________________________________________________________  A characteristic of creative thinkers is giving many unique and unusual answers. ______________________________________________________________________  Guilford (1967) developed a theory of cognitive functioning that took creativity into account. ______________________________________________________________________  People’s best ideas emerge when they are in the swimming pool, for example. ______________________________________________________________________  ... a creative person is one who stands out from the norm by producing such ideas, actions or objects. ______________________________________________________________________  Creativity involves thinking outside the box. ________________________________________________________________________

The –ing form as participle The major functions of –ing participles are summarized in the following list: 1. Adjective + noun combination:  The striking findings 2. –ing forms that resemble reduced relative clauses (i.e. adjectival function):  Creativity seems to be a term meaning different things to different people. 3. –ing adjectives in predicate or attributive position:  It is interesting to note that... 4. –ing forms as complements of sensory perception verbs:  The researcher observed the rat running in the maze. 5. –ing adverbial clauses:  Using the consensual assessment approach, creativity has been studied in a variety of fields... 6. –ing as a verb:  Scientists are searching for the relationship between creativity and mental illness.

EXERCISES: Say the function of the following –ing participles:  Creativity studies received a great boost in the late 1950s, when articles dealing with this topic in the psychological literature jumped from fewer than ten a year to several hundred. ________________________________________________________________________  Most creative achievements involve drastic changes that occur as the creator ostensibly is just translating the insight into a concrete product. ________________________________________________________________________  Much more convincing is the experimental evidence that also supports these processes. ________________________________________________________________________  Many great thinkers, following Socrates and Plato, have sustained the idea that any discovery is actually a rediscovery. ________________________________________________________________________

LOGICAL CONNECTORS Sentence relationships between statements in a text are marked and expressed by relating or connecting words. These are semantic, cohesive devices whose function is to show some logical relationship between two or more basic sentences or â&#x20AC;&#x201C; in some cases â&#x20AC;&#x201C; between a basic sentence and a nominal group. Connectors can be placed at the beginning, near the beginning or inside the sentence. Logical connectors can be classified in four groups: a. Additive: (used to signal addition of information, introduction of a topic, emphasis, intensity, similarity, exemplification, clarification). b. Adversative (used to signal conflict, contradiction, concession) c. Causal (used to signal cause/effect and reason/result, purpose, condition) d. Sequential (use to signal chronological or logical sequence) From Celce-Murcia, M and Larsen-Freeman, D. (1983).The Grammar Book. Newbury House Publishers

The following connectors appeared in the text we read. Write down in Spanish the meaning and the function of each of them, then write the sentences they connect. Connector

Meaning

Thus

____________________

Function _______________________________________

Sentences connected: _____________________________________________________________________________ ____________________________________________________________________________ Connector

Meaning

But ____________________ Sentences connected:

Function ___________________________________________

_____________________________________________________________________________ _____________________________________________________________________________ Connector

Meaning

However ____________________ Sentences connected:

Function ___________________________________________

_____________________________________________________________________________ _____________________________________________________________________________

Connector

Meaning

For instance ___________________ Sentences connected:

Function ___________________________________________

_____________________________________________________________________________ _____________________________________________________________________________

Connector

Meaning

Furthermore

____________________ __________________

Function ______________________________________

Sentences connected: _____________________________________________________________________________ _____________________________________________________________________________ Connector

Meaning

Unless

_____________________ _____________________

Function

______________________________________

Sentences connected: _____________________________________________________________________________ _____________________________________________________________________________

Join the two sentences to make ONE sentence, using AND, IN SPITE OF, SO, BECAUSE, SINCE, BUT or OR. 1. I could not go out last night. I was too busy. ________________________________________________________________________ 2. Iâ&#x20AC;&#x2122;m going to continue with my English. The cost of the lessons. ________________________________________________________________________ 3. I could not go with my friend. My friend went without me. ________________________________________________________________________ 4. My friend went to the cinema to see a film. The film wasn't very good. ________________________________________________________________________

21 5. It was Saturday. He stayed in bed an extra hour. ________________________________________________________________________ 6. The cinema was full of people. They were all smoking. ________________________________________________________________________ 7. I like people. I don't like smoke. ________________________________________________________________________ 8. Do you want an orange juice? Would you like a beer? ________________________________________________________________________ 9. It was my birthday. He didn't send me a card. ________________________________________________________________________ 10. I didn't write to him. He didn't write to me. ________________________________________________________________________

AFTER READING ACTIVITY Write in your own words in English what the text was about. Write one or two sentences per paragraph.

TEXT 2

A Systems Perspective on Creativity PRE-READING ACTIVITIES: 1. Look at following image and make comments about it:

23 READ THE TEXT AND DO THE ACTIVITIES Class of text: Expository text. A Systems Perspective on Creativity Psychologists tend to see creativity exclusively as a mental process [but] creativity is asmuch a cultural and social as it is a psychological event. Therefore what we call creativity is not the product of single individuals, but of social systems making judgments about individual’s products. Any definition of creativity that aspires to objectivity, and therefore requires an intersubjective dimension, will have to recognize the fact that the audience is as important to its constitution as the individual to whom it is credited. An outline of the Systems Model This environment has two salient aspects: a cultural, or symbolic, aspect which here is called the domain; and a social aspect called the field. Creativity is a process that can be observed only at the intersection where individuals, domains, and fields interact (Figure 1.1). For creativity to occur, a set of rules and practices must be transmitted from the domain to the individual. The individual must then produce a novel variation in the content of the domain. The variation then must be selected by the field for inclusion in the domain. Creativity occurs when a person makes a change in a domain, a change that will be transmitted through time. Some individuals are more likely to make such changes, either because of personal qualities or because they have the good fortune to be well positioned with respect to the domain – they have better access to it, or their social circumstances allow them free time to experiment. For example until quite recently the majority of scientific advances were made by men who had the means and the leisure: clergymen like Copernicus, tax collectors like Lavoisier, or physicians like Galvani could afford to build their own laboratories and to concentrate on their thoughts. And, of course, all of these individuals lived in cultures with a tradition of systematic observation of nature and a tradition of record keeping and mathematical symbolization that made it possible for their insights to be shared and evaluated by others who had equivalent training. But most novel ideas will be quickly forgotten. Changes are not adopted unless they are sanctioned by some group entitled to make decisions as to what should or should not be included in the domain. These gatekeepers are what we call here the field. Here field refers only to the social organization of the domain – to the teachers, critics, journal editors, museum curators, agency directors, and foundation officers who decide what belongs to a domain and what does not. In physics, the opinion of a very small number of leading university professors was enough to certify that Einstein’s ideas were creative. Hundreds of millions of people accepted the judgment of this tiny field and marveled at Einstein’s creativity without understanding what it was all about. It has been said that in the United States 10,000 people in Manhattan constitute the field in modern art. They decide which new paintings or sculptures deserve to be seen, bought, included in collections, and therefore added to the domain. Source: M. Csikszentmihalyi (1999) Edited extract from R. Sternberg (Ed) (1999) Handbook of Creativity. Cambridge: Cambridge University Press, 313–35.

24 DURING READING ACTIVITIES: 1. Glance through the 1st paragraph and do the following activities: a. Underline and write down the most important words.

b. State the main idea of the paragraph and write it down.

2. Read the rest of the text and answer the questions: a. What are the elements involved in the process of creativity? (In Spanish)

b. How is a domain defined? (In Spanish)

c. What is the field? (In Spanish)

d. When does creativity occur? (In English)

e. What does the example given on line 17 illustrate? (In English)

25 f. What does the last paragraph talk about? (In English)

g. Underline the –ing forms that appear in the text. What are they, gerund or present participles?

h. What do the underlined words refer to?      

AFTER READING ACTIVITIES: 1. According to Csikszentmihalyi, what is creativity?

2. Write your own definition of creativity

THE –ING FORM CHANGE THE –ING FORM TO A RELATIVE CLAUSE:

Example:  Creativity seems to be a term meaning different things to different people.

Creativity seems to be a term that means different things to different people. a. There is evidence supporting Wallas’s creative process model. ________________________________________________________________________ b. The word “creativity” derives from the latin creare meaning to make. ________________________________________________________________________ c. …creative thinking is new insights resulting from the conscious restructuring of a problem. ________________________________________________________________________ d. It is impossible for a child living in an isolated tribe or urban ghetto to become a creative mathematician. ________________________________________________________________________ e. Cartoons and caricature depict creative insights as a light bulb lighting up. ________________________________________________________________________ II.

DO THE FOLLOWING SENTENCES CONTAIN A GERUND OR AN –ING PARTICIPLE?

a. Csikszentmihalyi has proposed an interesting definition of creativity. b. The technique for measuring creativity is called consensual assessment. c. Creativity has been studied in a variety of fields, using Amabile’s technique. d. His discovering of a new vaccine, surprised the other researchers. e. Thomas Edison made popular the saying that creativity was 99% perspiration and 1% inspiration. f. Mihaly Csikszentmihalyi says creativity is a central source of meaning in our lives. A leading researcher in positive psychology, he has devoted his life to studying what makes people truly happy: "When we are involved in [creativity], we feel that we are living more fully than during the rest of life."

TEXT 3

27 PERSONALITY CORRELATES OF DEPRESSIVE STYLES IN AUTOBIOGRAPHIES OF CREATIVE ACHIEVERS PRE-READING ACTIVITY: Read the following statements and make comments about them: 

Since the time of Aristotle, creativity in the arts has been linked to melancholia...but depression itself doesn't necessarily enhance creativity. Quite the opposite: most poets, artists, and composers have reported over the years that they are decidedly unable to work during episodes of severe depression. In fact, many have found their inability to create while depressed to be an impetus for ending it all. Virginia Woolf, for example, unable to write during the onset of a depressive episode, filled her pockets with stones and submerged herself in the River Ouse. So if depression inhibits creativity, why the long-standing recognition of a connection between the two? Psychology Today Depression, Creativity, and a New Pair of Shoes Will depression make you more creative? by Shelley Carson July 30, 2008

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Some artists, whether painters, writers or musicians, suffer from being labeled crazy artists. There is compelling evidence that some of the best artists do deserve the title, except the term "crazy" is generally more politely replaced with "mentally ill." There are numerous examples of “crazy artists” however, which do point to a large share of artists suffering from some form of mental illness. Are the best artists all crazy? Written by Tricia Ellis-Christensen for WiseGEEK Edited by O. Wallace Last Modified: 08 September 2010

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I've heard that the toll of life can bend, shape, and refine a person, particularly if a person goes through hard times. So I can say that probably we can owe the excellent poems, detective, and horror stories that E.A.Poe wrote to the very conditions of his tragic life. Taken from www.horrorstew.com



An acute depression crisis forced him to be taken to San Jorge hospital. When Reverón came back to the Castillete, he took refuge in a magical universe, surrounded by objects of his creation such as dolls and animals which gave origin to the last and semi-delirious expressionist stage of his work. He would dress up the dolls and use them as models for his paintings all of whom he named, dressed, made nonfunctional objects for (a telephone, a bottle, crowns) and cared for on an individual basis, possibly a symptom of his schizophrenia and loneliness. This figurative stage was characterized by the use of chalks (creyones) and by the creation of theater plays with his dolls that perhaps helped him recover his emotional balance. From Wikipedia, the free encyclopedia

READ THE TEXT AND DO THE ACTIVITIES:

28 Class of text: Abstract and part of the introduction of an article from a journal.

Personality Correlates of Depressive Styles in Autobiographies of Creative Achievers This study compared neurotic and depressive personality characteristics in creative achievers versus eminent but non-creative achievers. Fortyeight subjects’ (25 men, 23 women) autobiographies were assessed by trained raters on personality using the California Q-set. Creative achievers included literary and visual artists whereas the control group consisted of political, military and social leaders. The Q-set ratings were used to assess the five factors of personality (neuroticism, extroversion, openness to experience, agreeableness and conscientiousness.) Neuroticism was further divided into subscales that assessed depressive style, impulsivity and anxiety. Results showed that creative achievers were rated significantly higher than controls on general neuroticism, as well as on depressive style and impulsivity. Creative achievers did not differ from controls in anxiety. It was also found that creative achievers were rated significantly higher than controls on openness to experience and agreeableness, but lower on conscientiousness. None of the effects for creativity was affected by subjects’ sex. Freud (1908/1973) felt creative artists were like children at play. They both create fantasy worlds invested with emotion and arranged the world around them in accordance with those fantasies. In fact, Freud hypothesized that creative production could be considered a substitute for childhood play. This fantasy world, distinct from reality, allows creative artists to bring unpleasant emotions from real life into a creative work. Situations and events that people generally find painful in everyday life, produce enjoyment when part of a creative work. The following question arises however. Do artists pay a psychological price for creating these “fantasy worlds”? Many famous creative artists are considered to have suffered from depression. For example, Sylvia Plath, Jack London, Virginia Woolf, Jackson Pollock and Vincent Van Gogh were all reputed to have experienced depression that led them to commit suicide (Prentky, 1989). Do these famous examples reflect a true relation between creativity and depression, or is this a case where vivid historical examples lead people to infer a relationship where one may not really exist? The present study attempts to confirm a link between creativity and depression by examining the written autobiographical accounts of the lives of creative achievers. Walker, M; Koestner, R and Hum, A. (1995).Journal of Creative Behavior.Vol. 29.Nº 2.

29 DURING READING ACTIVITIES: Read the abstract and complete the table in Spanish. Highlight the words in the text which help you to recognize the information Personality correlates of depressive style in autobiographies of creative achievers Propósito del estudio

Sujetos

Materiales

Procedimiento

Resultados

Read the rest of the text and answer the questions in Spanish: a. According to Freud, how do creative artists create fantasy worlds?

b. Do you think artists have to pay a psychological price for creating those “fantasy worlds”?

30 WRITING Given the following pairs of sentences, join them with an appropriate connector taking into account their content. a.1. it has been argued so far that the individual is only one of three factors that determine creativity, a.2. it is obviously the most important one from a psychological perspective. ______________________________________________________________________________ b.1. the enormous amount of research in creativity in recent years, b.2. there is no a clear and concise definition accepted by all. ______________________________________________________________________________ c.1. Torrance proposed that we are born with abilities that tend to be specific to a domain. c.2. some people may be more talented in art, music, writing, dancing, or a number of other creative areas. ______________________________________________________________________________ d.1. the creative product must be original, useful, and adaptive to reality. d.2. other dimensions including ingenuity, cleverness and aesthetic appeal have been cited as being characteristic of the creative product. ______________________________________________________________________________

Complete the sentences. Pay attention to the underlined word. a. Creativity and intelligence are very related however

b. Many researchers have investigated about creativity but

c. Although it is almost impossible to define creativity

d. Creativity seems to be a mutidimensional phenomenon therefore

31 ACTIVE PRESENT PERFECT TENSE

The present perfect is formed by has/have + the past participle I/you/we/they have (‘ve)

found studied

He/she/it has (’s)investigated

been

The Present Perfect tense makes reference to an action which took place in the past but extends to the present without stating the duration of this period. It has been found in its active form with greater frequency in Psychology books. It is particularly used in the presentations of reports on general things and also in reports of investigations and research work previously carried out. Example: 

In the psychological domain, the study of creativity has included examinations of the creative process...

Bolívar, A. (1976): An English course for students of psychology. Ediciones FHE

Change the following sentences into active present perfect.

a. Although historical and biographical studies of prominent individuals yield strong associations between creativity and mood disorders, there is still some questions as to the true strength of these associations. ________________________________________________________________________ b. A very large number of studies explore the relationship between mental disorders and creativity. ________________________________________________________________________ c. Aristotle, in the fragment known as ‘Problemata XXX’, raises the question as to why the vast majority of the eminent people are afflicted by ‘melancholy’. ________________________________________________________________________ d. This study does not examine the possible role played by society’s response to creativity. ________________________________________________________________________

32 PASSIVE PRESENT PERFECT TENSE

The passive present perfect is formed by has/have + BEEN + the past participle have (‘ve)

found BEEN

has (’s)

studied investigated

The Passive Present Perfect tense is frequently used in Psychology in the context of presentation of general information and specially with reports on investigations carried out in the various fields of Psychology. Example: 

These studies have been undertaken using a variety of psychometric and experimental approaches...

Bolívar, A. (1976): An English course for students of psychology. Ediciones FHE

II.

Use the blank spaces below to change the sentence on page 33 into passive present perfect.

a. __________________________________________________________________________ ______________________________________________________________________

b. __________________________________________________________________________ ______________________________________________________________________

c. __________________________________________________________________________ ______________________________________________________________________

d. __________________________________________________________________________ ______________________________________________________________________

33 III.

USE THE PASSIVE, IN ANY APPROPRIATE TENSE, TO CHANGE THE VERBS IN PARENTHESES:

 Creativity (study) _________________________ in many ways, all rewarding in various degrees.  Two

separate

reasons

for

the

expansion

creativity

studies

(involve)

_________________________.  Nowadays

the

possibility

creating

valued

products

(neg.

restrict)

____________________to an elite.  Some years ago, a number of important questions (raise) ________________________ by such a simple definition.  In olden times, creativity (assume) ________________________ as a divine privilege.  If researchers don’t agree about a definition of creativity, different phenomena (include) ________________________ under the term.  A definition of creativity (accept) ______________________ only if experts approved it.  Most novel achievements (understand) _________________________ as the result of a much longer process.  Although such studies typically yield strong associations between mood disorders and creativity, they (flaw) _________________________ by reliance on anecdotal evidence of psychopathology and use of descriptive statistics.

34 PRE-READING ACTIVITY a. Make comments about this image:

TEXT 1 Class of text: Expository text What personologists do… Privately, none of us seriously doubts that personality exists. Indeed, we routinely take our own and others’ personalities into account in daily decisions and activities. But once we try to specify the nature of personality in some precise way, it seems to evaporate before our eyes, leaving us frustrated and uncertain. This has even happened to some psychologists, leading them to seriously contend that personality does not exist. Such a contention seems to me as unfounded as personality is elusive. We must expect the elucidation of personality to be difficult, for it is, after all, the most ubiquitous and human thing about us. We cannot gain much understanding of it by studying subhuman organisms, and our ability to accurately observe other humans is limited by the need to filter all observations through our own personalities. But personality is here to stay, so I suggest that we simply accept the difficulty of our task and plunge right in. (…) Let me start by adopting a name for the kind of person I will be describing. Following Murray (1938), let us call him or her personologist: an expert in the study and understanding of the consistent patterns of thoughts, feelings, and actions people demonstrate. Many psychologists and psychiatrists can indisputably be called personologists. Their work involves any or all of four activities: psychotherapy, assessment, research, and theorizing. Psychotherapy involves sensitively listening to and interacting with people in order to ameliorate their problems. In assessment, the personologists uses techniques such as personality or skills tests in order to pinpoint people’s problems or capabilities, either for the people themselves or for someone else, such as a prospective employer. In psychotherapy and assessment, the personologist is interested mainly in clients’ specific needs. In research, he or she is typically more concerned with general knowledge. The research may require people to perform certain tasks to determine similarities and differences in their behavior, both within themselves and with respect to one another. Personality Theorizing both influences and is influenced by the experiences of psychotherapy, assessment, and research. With this brief introduction, let me focus more concretely on how the personologist habitually functions. First, the personologist tends to study groups of people or, if only a few individuals are studied, is concerned with how representative they are of people in general. Occasionally, the personologist studies only one person for his or her own sake, as does the biographer, perhaps because the person is extraordinary (say, Abraham Lincoln), or the task of psychotherapy or assessment leads to a focus on one person. Nonetheless, he or she studies an individual to subsequently compare and contrast that person with others, because the personologist is interested in the commonalities among persons. Indeed, in research, a technical requirement is that the observed group represent people in general. The personologist approaches the task of understanding people with systematic, orderly thoroughness of the scientist rather than the impressionistic anecdotalism of the fiction writer. The personologist, however, need not shun the imaginativeness of his or her humanist neighbor merely because of an insistence on systematic sampling.

36 Despite the deeply ingrained interest in commonalities, the personologist also attempts to identify and classify differences among people. There is no basic incompatibility between the search for commonalities and the search for differences, though individual personologists frequently show a preference for one or the other. Whereas the search for commonalities proceeds at an abstract, interpretive level, the quest for differences involves a concrete face-value analysis of observable behavior. Personologists engaged in assessment are especially sensitive to individual differences, which are tapped, for instance, by the personality tests often taken on entrance to college or for job evaluation purposes. The personologistâ&#x20AC;&#x2122;s overall aim is to classify styles of being, with the similarities and differences among the categories clearly specified. This interest parallels the chemistâ&#x20AC;&#x2122;s concern with the periodic table of elements. Maddi Salvatore (1996). Personality Theories: A comparative Analysis. 6th. edition. Brooks/Cole Publishing Company. An International Thomson Publishing Company

DURING READING ACTIVITIES: 1. According to what the author says in the first paragraph does personality exists or not? Explain briefly.

2. Complete the following table in Spanish with information from the text: Personologist: Psychologists and psychiatristsâ&#x20AC;&#x2122; work Psychotherapy

Assessment

Research

Theorizing

37 rd

3. Read the 3 and 4 paragraphs and list in English the verbs that indicate how the personologist functions. a.

_____________________________

4. Say in Spanish what the aim of the personologist is.

5. How does the personologist succeed to achieve his/her objective?

38 What personality is…

At this point, you can understand a statement about the overall nature of personality that will be meaningful in terms of the kinds of things personologists do: personality is a stable set of tendencies and characteristics that determine those commonalities and differences in people’s psychological behavior (thoughts, feelings, and actions) that have continuity in time and that may not be easily understood as the sole result of the social and biological pressures of the moment. The only part of this statement that may need elaboration is the reference to “tendencies and characteristics.” Tendencies are the processes that determine directionality in thoughts, feelings and actions; they serve goals or functions. Characteristics are static personality structures used to explain goals or requirements rather than the movement toward them. They are also used to explain thoughts, feelings, and actions that seem less directional than repetitive in nature, An example of a tendency might be the attempt to achieve perfection in living, whereas related characteristics would be the ideals, such as beauty or generosity, that define perfection. I will have much more to say about characteristics and tendencies later; for the moment, you need only a general sense of what they mean. Maddi Salvatore (1996). Personality Theories: A comparative Analysis. 6 th. edition. Brooks/Cole Publishing Company. An International Thomson Publishing Company

DURING READING ACTIVITIES: DO THE FOLLOWING ACTIVITIES IN SPANISH. 1. Define what personality is.

2. What do ‘tendencies and characteristics’ refer to?

TEXT 2 PERSONALITY DEVELOPMENT PRE-READING ACTIVITY Make comments about the following statement

SABÍA USTED QUE... Los genes pueden influir en la conductahumana y podrían incluso ser culpados - en parte – por los hábitos y los estilos de vida no saludables. Sin embargo, esto no significa que estemos a merced de nuestros genes. La crianza y la influencia de la familia y los amigos también desempeñan una parte.

Translate the information into English

40 READ THE TEXT AND DO THE ACTIVITIES: PERSONALITY DEVELOPMENT. Two aspects of personality development are of particular interest to personality psychologists. The first involves the question of determinants of personality, the second the question of stability and change in personality over time. In relation to determinants, at various points the field has shifted between an emphasis on environmental determinants and an emphasis on genetic determinants, the nature/nurture issue (although all psychologists recognize that genes and environments always have an impact on one another). Of late there have been major contributions by behavior geneticists to understanding the importance of genes in personality development. There is evidence that genes play a role in shaping virtually every aspect of personality functioning, greater for aspects of functioning such as temperament and lesser for aspects of functioning such as values. The current heritability estimate for personality overall is 40%. Genes exert their influence directly through their effects on the biological functioning of the organism and indirectly through their influence on the environment: that is, genes affect how the person responds to the environment, the responses elicited from the environment, and the selection of environments with which to interact. Thus, current behavioral geneticists suggest that one of the major contributions of their efforts is, and will be, a greater understanding of which aspects of the environment are key for personality development. The key point made to date, in particular by Robin Plomin, is the extent to which siblings from the same family are different as a result of nonshared family environments: that is, siblings growing up in the same family experience very different family environments, in part because of the genetic differences among the siblings and the consequent effects on the environment. As noted, personality psychologists also have been interested in the question of stability and change over time. Interestingly enough, both psychoanalytic and trait theorists suggest considerable personality stability over time, the former because of the influence of early experiences on character development, the latter because of the influence of genetic factors. However, other than evidence of stability of trait scores after the age of 25, the evidence for change probably is as good as that for stability. This area of research is challenging, given the difficulty of applying comparable personality measures across different age groups, the possible different phenotypic manifestations of the same underlying or genotypic personality characteristic, and the likelihood of different degrees of stability for different characteristics and for different degrees of environmental impact. One of the ways in which personality psychologists have studied stability and change in personality development, is through longitudinal research, that is, through the study of the same individuals over extended periods of time, with repeated measurements at various time intervals. Two major studies are noteworthy: the Berkeley Institute of Human Developmentâ&#x20AC;&#x2122;s longitudinal study, known mainly through the works of Jack Block, and the Swedish Study of Individual Development and Adjustment, known mainly through the works of David Magnusson. Both studies indicate considerable evidence for the continuity of personality development over time and for the antecedents in childhood of such important developments as depression and antisocial behavior. At the same time, these and other longitudinal studies indicate that personality development is a complex process reflecting the interplay between biological and environmental (familial, societal) variables. A holistic systems approach to personality development is emphasized. Pervin, Lawrence A. (2000) Encyclopediaof Psychology

41 DURING READING ACTIVITY Read the text again and make a conceptual map of it in Spanish.

42 Write a summary of the text in Spanish.

TEXT 3 Given the abstract of an investigation, glance through it and complete the table in Spanish: Brent W. Roberts

Avshalom Caspi and Terris E. Moffitt

University of Illinois at Urbana-Champaign

Institute of Psychiatry, London and University of Wisconsin â&#x20AC;&#x201C; Madison

ABSTRACT: This longitudinal study provides a comprehensive analysis of continuity and change in personality functioning from age 18 to age 26 in a birth cohort (N = 921) using a Multidimensional Personality Questionnaire (A. Tellegen, 1982). Data were analyzed using 4 different methods: differential continuity, mean-level change, individual differences in change, and ipsative change. Convergent evidence pointing toward personality continuity, as opposed to change, was found. The personality changes that did take place from adolescence to adulthood reflected growth in the direction of greater maturity; many adolescents became more controlled and socially more confident and less angry and alienated. Consistent with this, greater initial levels of maturity were associated with less personality change over time. The results indicate that the transition from adolescence to young adulthood is marked by continuity of personality and growth toward greater maturity.

PropĂłsito del Estudio

Sujetos

Materiales

Procedimiento

Resultados

DiscusiĂłn

44  

After having read the abstract, give a title to the investigation. The following is part of the introduction of the research article previously mentioned. Do the following activities before reading the entire text:

a. Read the title and make comments about it. b. Find the authors’ names and any other information about the writers. c. Identify the source (i.e. publication and date) of the article. d. Read the introduction or opening paragraph carefully and check it against the title. What is the relationship between them? e. Skim through the article and read the first sentence of each paragraph, if the sentence is not the topic sentence, locate it within the paragraph. f. Read the last paragraph carefully.

The Kids are alright: Growth and stability in personality development From adolescence to adulthood. The developmental period between ages 15 and 30 is characterized by tremendous environmental changes. This is the peak age period of residential mobility, school leaving, marriage, fertility, and unemployment. In fact, demographers call the transition to adulthood a period of demographic density because it is characterized by so many closely spaced life changes (Rindfuss, 1991). Similarly, psychologists describe the transition to adulthood as a time of identity commitment and consolidation in which men and women move from dependence on their family of origin to increasing independence as fully functioning members of society (Erikson, 1963; Havighurst, 1948; Levinson, 1986). This move entails negotiating numerous life tasks and making commitments to new identities: Where should I live? What kind of career should I pursue? Who should I marry? When should I have children? Whether one adopts the demographic language of state transitions or the psychodynamic language of stage resolution, the move from adolescence to adulthood is regarded as one of the most turbulent periods in the life course. Given the emphasis that is increasingly placed on the need to help adolescents prepare for their adult roles (Carnegie Council on Adolescent Development, 1995), it is imperative to have an accurate understanding of the psychological changes that youth undergo as they make this important transition to adulthood. An important way to assess these changes is to focus on personality traits. Personality traits refer to individual differences in the tendency to behave, think, and feel in certain consistent ways. Trait models are often incorrectly characterized as static, nondevelopmental constructions of personality (Lewis, 1999). This misconception arises because personality traits are thought to represent stable and enduring psychological differences between persons; ergo, they are static. In contrast, the perspective adopted in contemporary personality and developmental research is that personality traits are organizational constructs; they influence how individuals organize their behavior to meet environmental demands and new developmental challenges (Funder, 1991). As Allport (1937) noted, personality traits are “mode vivendi, ultimately deriving their significance from the role they play in advancing adaptation within, and mastery of, the personal environment” (p. 342). In turn, personality traits are developmental constructs in that they demonstrate changes across the life course (Roberts & Caspi, 2001), often in response to the environment being mastered (Roberts, 1997).

45 An important goal of developmental researchers is to chart normative changes in personality and to determine whether personality change is random or has a direction towards growth and maturity (e.g., Hogan & Roberts, in press; Roberts, Helson, &Klohnen, in press). Maturity entails change in the direction of a desirable endpoint that, once reached, means a person is closer to being fully developed (i.e., progression toward maturity should diminish the probability of change). This makes maturity an endpoint with traitlike features, and the study of maturity is intrinsically the study of continuity and change in traits. It is interesting to note that many of the definitions of maturity have been made in trait terms. Allport (1961) described the mature individual, in part, as warm, responsible, and emotionally stable. The primary goal of the present study is to provide a comprehensive analysis of continuity and change in personality traits from adolescence to adulthood. The secondary goal is to discern whether the change that occurs reflects growth in the direction of greater maturity and to explore whether adolescents who are more mature are less or more prone to change. This research is part of the Dunedin Multidisciplinary Health and Development Study (see Silva & Stanton, 1996), in which we have assessed the personality of nearly 1,000 men and women at age 18 and again at age 26. Journal of Personality and Social psychology, 2001. Vol. 81, Nยบ 4, 670-683. APA.

1. Answer the following questions in Spanish: a. In which paragraph(s) do the authors provide the context of the situation?

b. In which paragraph(s) do the authors describe the problem?

c. What is the problem?

d. What is the solution?

e. Read paragraph 3 and underline the transitional words.

Modos de organización del discurso Los textos expositivos tienen una organización interna (retórica), a través de la cual el autor expone su pensamiento y logra el propósito que se ha planteado: a. Causa – efecto: se presentan las causas de algunos sucesos, luego las consecuencias de los mismos. b. Comparación – contraste: se analizan similitudes y diferencias

entre conceptos y

acontecimientos. c. Descripción: se explica una idea o concepto. d. Pregunta - respuesta: se presenta un problema y una solución e. Colección

se agrupan hechos, conceptos o acontecimientos.

se organiza la información en secuencia cronológica o lógica.

Taken

from:

The

Internet

TESL

Journal,

Vol.

XIII,

Nº

July

2007.

http://iteslj.org/Tchniques/Iwa-ExpositoryTexts.html El autor utiliza con frecuencia señales lingüísticas para estructurar su texto. Estas señales permiten que el lector identifique las relaciones jerárquicas y semánticas entre las diferentes ideas y que además discrimine la función comunicativa de los párrafos. La señalización puede indicar de que manera varias ideas forman bloques coherentes de información donde las señales operan como soporte significativo a la escritura y a la lectura eficaz.

Estructura de texto Causa – Efecto

Comparación - Contraste

Descripción

Señales As a result (of), for this reason, due to, because (of), since, in order to, with this in mind, hence, therefore, consequently, in consequence In a like manner, in the same way, similarly, likewise, equally, similar to, in this way, whereas. But, nevertheless, however, in contrast, on the contrary, even though, on the one hand, on the other hand, while, despite.

for example, this particular, an example of this, such as, to illustrate, that is, like, namely, cases of, qualities are, shown by, the characteristics are, to describe, signals of. Words or phrases that indicate the presence of a problem: * negative prefixes: un, mis * negative adjectives:

Pregunta – Respuesta

poor, bad, inefficient, low, limited, small, difficult * negative nouns: problem, dilemma, controversy, limitations Words or phrases that indicate the solution to a previous problem:

Colección

Agrupación Secuencia

avoid,develop, find out,solution,well, attempt,total, relevant, large, allow, reliable, better, comprehensive, well-suited, and, besides, also, additionally, first, second, third, moreover, at the same time, before, after this, first, second, third, at first, initially, secondly, to start (begin) with, finally, in the end, at last, as a final point, to conclude.

Adaptado de: Beke, R. y Bruno de C., E. (1996). Entrenamiento en estrategias de comprensión de la lectura (ECOLE). UCV. Escuela de Educación. EUS. Delgado, M. (1994). Análisis del Discurso. UCV.

48 2. Read the text again, write the function of each paragraph, and justify your answer as exemplified.

The Kids are alright: Growth and stability in personality development From adolescence to adulthood.

Paragraph

Text

Function

Definición/ descripción: los autores definen y describen el 30 is characterized by tremendous environmental período de desarrollo entre 15 y 30 años. changes. This is the peak age period of residential The developmental period between ages 15 and

mobility, school leaving, marriage, fertility, and Señales: …is characterized, unemployment. In fact, demographers call the is, in fact., similarly transition to adulthood a period of demographic density because it is characterized by so many closely spaced life changes (Rindfuss, 1991). I

Similarly, psychologists describe the transition to adulthood as a time of identity commitment and consolidation in which men and women move from dependence on their family of origin to increasing independence as fully functioning members of society (Erikson, 1963; Havighurst, 1948; Levinson, 1986). This move entails negotiating numerous life tasks and making commitments to new identities: Where should I live? What kind of career should I pursue? Who should I marry? When should I have children? Whether one adopts the demographic language of state transitions or the psychodynamic language of stage resolution, the move from adolescence to adulthood is regarded as one of the most turbulent periods in the life course.

49 Given the emphasis that is increasingly placed on the need to help adolescents prepare for their adult roles (Carnegie Council on Adolescent Development, 1995), it is imperative to have an accurate understanding of the psychological changes that youth undergo as they make this important transition to adulthood. An important way to assess these changes is to focus on personality traits. Personality traits refer to individual differences in the tendency to behave, think, and feel in certain consistent ways. Trait models are often incorrectly characterized as II

static,

nondevelopmental

constructions

personality (Lewis, 1999). This misconception arises because personality traits are thought to represent stable and enduring psychological differences between persons; ergo, they are static. In

contrast,

the

perspective

adopted

contemporary personality and developmental research

that

personality

traits

are

organizational constructs; they influence how individuals organize their behavior to meet environmental demands and new developmental challenges (Funder, 1991). As Allport (1937) noted, personality traits are â&#x20AC;&#x153;mode vivendi, ultimately deriving their significance from the role they play in advancing adaptation within, and mastery of, the personal environmentâ&#x20AC;? (p. 342). In turn, personality traits are developmental constructs in that they demonstrate changes across the life course (Roberts &Caspi, 2001), often in response to the environment being mastered (Roberts, 1997).

important

goal

developmental

researchers is to chart normative changes in personality and to determine whether personality change is random or has a direction towards growth and maturity (e.g., Hogan & Roberts, in press; Roberts, Helson, &Klohnen, in press). Maturity entails change in the direction

of a

desirable endpoint that, once reached, means a person is closer to being fully developed (i.e., progression toward maturity should diminish the probability of change). This makes maturity an III

endpoint with traitlike features, and the study of maturity is intrinsically the study of continuity and change in traits. It is interesting to note that many of the definitions of maturity have been made in trait terms. Allport (1961) described the mature individual, in part, as warm, responsible, and emotionally stable. The primary goal of the present study is to provide a comprehensive analysis of continuity and change in personality traits from adolescence to adulthood. The secondary goal is to discern whether the change that occurs reflects growth in the direction of greater

maturity

and

explore

whether

adolescents who are more mature are less or more prone to change. This research is part of the Dunedin

Multidisciplinary

Health

and

Development Study (see Silva & Stanton, 1996), in which we have assessed the personality of nearly 1,000 men and women at age 18 and again at age 26.

BIBLIOGRAFÍA Aebersol, J. y Field, M. (1997). From Reader to Reading Teacher.C.U.P. Arieti, S. (1976).CREATIVITY: The magic Synthesis. Basic Books, Inc., Publishers.New York. Beke, R. y Bruno de C., E. (1996). Entrenamiento en estrategias de comprensión de lectura.U.C.V. Escuela de Educación. Bolívar, A. (1976). An English Course for Students of Psychology.Ediciones de la Facultad de Humanidades y Educación. UCV. Bolívar, A. y Markov, A. (1997). Estrategias para la lectura en inglés. Ediciones de la Biblioteca en coedición con la Comisión de estudios de Postgrado. FHE – UCV. Cambridge Dictionary of American English. Celce-Murcia, M. y Larsen-Freeman, D. (1983). The Grammar Book.Newbury House Publishers. Collins Cobuild.English Language Dictionary. Diccionario moderno español - inglés. Ediciones Larousse. Encyclopedia of Psychology Association.O.U.P.

(2000).Kazdin,

Ed.

chief.American

Psychological

Maddi Salvatore (1996). Personality Theories: A comparative Analysis. 6th. edition. Brooks/Cole Publishing Company. An International Thomson Publishing Company Martin, A., et al. (1977). Guide to Language and Study Skills for College Students of English as a Second Language. Prentice-Hall, Inc., Englewood Cliffs, New Jersey 07632 Nutall, Ch. (1982). Teaching Reading Skills in a Foreign Language.HEINEMANN. Psychology Today. June 1985 Robertshaw, S., Hamblen, R. y Alt, t. (1984).Reading First. Macmillan Publishing Company. SchrampferAzar, B.(1998). Understanding and Using English Grammar.Third Edition.Longman. Sim, d. y Laufer-Dvorkin, B. (1982).Reading Comprehension Course.Selected strategies. Collins ELT. Journal of Creative Behavior.