ON TRACK 5-6 – graadboek moderne talen by VAN IN

3 e

BEYOND WORDS

GRAAD

Els De Clercq Jan-Bart Claus Eva Hadermann

Via www.diddit.be heb je toegang tot het onlineleerplatform bij ON TRACK 5/6 - Tracking Beyond Words. Activeer je account aan de hand van de onderstaande code en accepteer de gebruiksvoorwaarden. Kies je ervoor om je aan te melden met je Smartschool-account, controleer dan zeker dat je e-mailadres aan dat account gekoppeld is. Zo kunnen we je optimaal ondersteunen.

Tracking Beyond Words

Let op: deze licentie is uniek, eenmalig te activeren en geldig voor een periode van 1 schooljaar. Indien je de licentie niet kunt activeren, neem dan contact op met onze klantendienst.

Fotokopieerapparaten zijn algemeen verspreid en vele mensen maken er haast onnadenkend gebruik van voor allerlei doeleinden. Jammer genoeg ontstaan boeken niet met hetzelfde gemak als kopieën. Boeken samenstellen kost veel inzet, tijd en geld. De vergoeding van de auteurs en van iedereen die bij het maken en verhandelen van boeken betrokken is, komt voort uit de verkoop van die boeken. In België beschermt de auteurswet de rechten van deze mensen. Wanneer u van boeken of van gedeelten eruit zonder toestemming kopieën maakt, buiten de uitdrukkelijk bij wet bepaalde uitzonderingen, ontneemt u hen dus een stuk van die vergoeding. Daarom vragen auteurs en uitgevers u beschermde teksten niet zonder schriftelijke toestemming te kopiëren buiten de uitdrukkelijk bij wet bepaalde uitzonderingen. Verdere informatie over kopieerrechten en de wetgeving met betrekking tot reproductie vindt u op www.reprobel.be. Ook voor het onlinelesmateriaal gelden deze voorwaarden. De licentie die toegang verleent tot dat materiaal is persoonlijk. Bij vermoeden van misbruik kan die gedeactiveerd worden. Meer informatie over de gebruiksvoorwaarden leest u op www.diddit.be. © Uitgeverij Van In, Wommelgem, 2023 De uitgever heeft ernaar gestreefd de relevante auteursrechten te regelen volgens de wettelijke bepalingen. Wie desondanks meent zekere rechten te kunnen doen gelden, wordt verzocht zich tot de uitgever te wenden. Eerste druk 2023 ISBN 978-94-647-0082-4 D/2023/0078/106 603756/01 NUR 110

Cover: Wendy De Haes Zetwerk: Coco Bookmedia Wendy De Haes

CONTENTS 1 I SPEAK, THEREFORE I AM 5

3 HOW CAN AI HELP? 51

Check In 6 Main Track 7

Check In 52 Main Track 53 Step 1: AI or not to AI (Discussing the rise of AI) Step 2: Write and improve (The writing process and learning how to edit)

53 57

Step 1: H ow do we learn language? (Understanding language acquisition) 7 Step 2: L anguage default (Analysing problems in language acquisition) 15

Summary

Summary 63 Vocabulary 63 – HOW TO talk about AI 63 Strategy 64 – HOW TO write an essay 64

Check Out: Writing an essay 65

4 TO BAN OR NOT TO BAN Check In Main Track

Step 1: A classic thing (Discussing the banning of books) lassic controversies Step 2: C (Analysing a classic)

26 Vocabulary 26 – Language acquisition 26 – Linguistics 26 – Feral child 26 Language & culture 27 – Levels of language proficiency 27 27 – Stages in language acquisition Strategy 28 28 – HOW TO take Cornell notes – HOW TO summarise a text 29 – HOW TO check if your sources 30 are reliable and useful

Check Out: Discussing a feral child 31

2 SUPERCALIFRAGILISTICEXPIALIDOCIOUS! 33

Check In 34 Main Track 35 Step 1: D o you double-talk? (Building words) was brillig Step 2: T (Writing with new words)

35 35

67 68 69 69 78

Summary 86 Vocabulary 86 – Literary analysis and criticism 86 – Controversial content 86 Strategy 88 – HOW TO give an elevator pitch 88

Check Out: Debating the ban of Shakespeare 89

Summary 48 Language & culture 48 – Morphology 48 – Neologisms 48 – List of commonly used prefixes and suffixes 49

three

Check Out: Analysing words 50

CONTENTS ON TRACK

UNIT 1: I SPEAK, THEREFORE I AM CHECK IN Step 1:

MAIN TRACK

Understanding language acquisition

Step 2:

Analysing problems in language acquisition

SUMMARY

CHECK OUT: DISCUSSING A FERAL CHILD

CHECK IN LANGUAGE PASSPORT SPOKEN INTERACTION

1 Listen to your teacher’s instructions and complete your language passport. 2 Discuss with a partner afterwards. What is the same? What is different?

six

Unit 1: I speak, therefore I am

MAIN TRACK STEP 1 ⁄ How do we learn language?

Understanding language acquisition

1 Watch the clip introducing Bella Devyatkina.

WATCHING

a Explain in your own words what is going on.

b How old do you think Bella is and how many languages does she speak?

c How can you tell she is fluent in these languages?

d At her age, Bella is more fluent in these languages than most of the students in secondary school. How do you think that is possible?

2 Scan the headlines. Write down 4 pieces of information you can derive from these headlines on acquiring languages.

reading

–

seven

–

Unit 1: I speak, therefore I am

Children learn language much quicker than teenagers or adults because their parents change how they talk to them by using more complex sentences as fluency improves, study finds.

k Up Do Children Soa onges? Language Like Sp ren

guage naturally Young children learn lan ou ad r article to find and unconsciously. Re tors that influence out more about the fac rn English. how young children lea

LANGUAGE & CULTURE

Kids learn language faster than adults because of how people speak to them.

How young children learn English as another language

child sumes that young A pervasive idea as imal nguages with min can absorb new la nce is s out that the scie effort, but it turn d. more complicate

Levels of language proficiency

− A native English speaker is someone who has been raised in English. Therefore, English is their mother tongue. − People who have a different mother tongue but live in a country in which English is the official language will learn English as a second language (ESL). They are confronted with the language at an early age, as it is embedded in their everyday life. − Since English is a language spoken around the world, most secondary schools include English in their curriculum. They teach English as a foreign language (EFL). − A person who is bilingual has been raised with 2 languages from birth. This is common when both parents speak a different language and they each communicate with their child in their own mother tongue. − (First) Language Acquisition – the process in which babies learn their mother tongue – is an entire field of study in linguistics.

See p. 27

3 You are about to listen to a podcast on language acquisition. Read the background information on this podcast first, and answer the questions. a Whose podcast is this?

b Can we trust the information given in this podcast will be reliable? Why (not)?

eight

Unit 1: I speak, therefore I am

reading

DID YOU KNOW? Podcasts are a popular form of (online) audio entertainment in which a host discusses a particular topic or has a conversation with a guest or a panel. Subscribers can download and listen to each episode when released. Podcasts are not regulated like radio channels, which means that anyone with a microphone, recording software and a membership to a hosting platform can create their own show and reach an audience with it.

Podcasts can be fictional or non-fictional, conversational or told as a story. Topics range from culture and politics to science or linguistics. WordToTheWhys is a podcast created by TILCoP (Teaching in Linguistics Community of Practice), a group of linguistics instructors at the University of Canada. It is meant to answer the question ‘why we do linguistics’, by focusing on a different linguistic domain in each episode.

Even though the variety in podcasts is endless, they can generally be broken down into the following parts: introduction, main content and outro.

listening

4 Listen to the first part of the podcast Why we do language acquisition and answer the following questions. a What kind of podcast is this?

b Who are the speakers? What is their role in this podcast?

nine

c What is the difference between language learning, language acquisition and language development?

Unit 1: I speak, therefore I am

d What are the 2 most important reasons why it is easier for babies to learn a language?

e True or false? Explain referring to the podcast. ‘Babies who are confronted with 2 different languages at home are easily confused.’

5 Listen to the second part of the podcast. Are these statements true or false? Prove your answer by referring to the podcast. True

False

Statement

listening

Some languages are simply harder to learn than others.

Every child says their first word at exactly the same age: when they are 1 year old.

Babies acquiring sign language go through the same milestones in language acquisition.

6 Listen to the second audio clip again and take notes on the different stages of language acquisition that are discussed. Use the Cornell method of notetaking. Use a separate piece of paper. Check the Summary on p. 28 on how to do this. ten

Unit 1: I speak, therefore I am

listening

7 The information in the podcast on the stages in first language acquisition is limited. Read the following article and highlight new information that you think is important. Then complete your notes in exercise 6.

reading writing

Stages of Language Acquisition By Andy Xavier

Introduction

Language acquisition is a process that can happen at any point in human life. However, when we talk about the first language acquisition by a child, we refer to the process or way by which children learn their native language. Learning a new language can be extremely difficult, but yet you look at little children that are not yet five and they have already mastered most of the grammar of their native language. Children learn their native language without being taught the rules of grammar by their parents or guardians. Also, parents themselves do not consciously know the many rules of grammar. So how do children acquire language?

There are 4 major stages of language acquisition.

Stage 1: Babbling

A baby begins to recognize its mother’s voice within a few weeks of being born. Within this period, there are two sub-stages. The first stage occurs between the time of birth to 8 months. In this stage, the baby learns about its surroundings and doesn’t begin to use its vocal cords until the fifth or sixth month, down to the eighth month. During this time the baby hears sounds around it and tries to imitate them to little success. This attempt at creating and experimenting with sound is what we refer to as babbling.

After babbling for a few months, the baby begins to relate the sounds or words it is making to objects or things. This is where the second sub-stage begins. From eight months to 13 months, the baby continues to gain control over not just its vocal communication but also its physical condition. Afterward, the baby begins to use both verbal and non-verbal means to interact with its environment. This is when the baby moves to the next level of language acquisition.

Stage 2: Holophrastic/One-word Stage

The one-word or holophrastic stage is the second stage of language acquisition. In this stage, the child begins to make one-word sentences. In the Holophrastic stage, nouns make up fifty percent of the child’s vocabulary while verbs and modifiers make up about thirty percent. The remaining twenty percent is made up of questions and negatives.

In this stage, children use one-word sentences to obtain the things they need or want. However, most of the time, they are not obvious. For example, a child will cry “mama” when it just wants attention. Once the baby can speak in successive in one-word sentences, then the baby is ready for the next stage.

Just as it implies, the two-word stage is made up of primarily two-word sentences. The sentences in this stage contain one word for the predicate and another word for the subject. For instance, “Doggie eat” for the sentence, “The dog is eating.” In this stage,

Unit 1: I speak, therefore I am

eleven

Stage 3: Two-word Stage

we see the appearance of single modifiers, e.g. “That book”, and two-word questions, for example, “Daddy sleep?”.

Stage 4: Telegraphic Stage This stage is the final stage of language acquisition. This stage is called “telegraphic” because it is similar to what is seen in a telegram; having just enough information for the sentence to make sense. In this stage, the child’s sentences contain many three to four words. During this stage, there are certain times the child begins to see the links between the words and objects, and therefore, overgeneralization comes in.

Here are some examples of sentences in the telegraphic stage: “what his name?”, “Mummy eat apple” and “she is dancing.” In this stage, the child’s vocabulary increases from fifty to over thirteen thousand words. Towards the end of the stage, the child will begin to make attempts to get a grip on tense by incorporating plurals and joining words.

In many ways, a child’s grasp on language seems as though the child just learns each part in a random order, but this is far from true. There is a particular order of speech sounds. Children begin by speaking vowels with the rounded “oo” and “aas”. The consonants come after the vowels. Examples of the consonants include p, b, m, t, d, n, k, and g. These consonants come first because they are easier to pronounce than some of the others, e.g. ‘s’ and ‘z’. This is because the ‘s’ and ‘z’ require specific tongue placement which children are unable to do at that age.

Like all human beings, children will improvise something they are unable to do. For example, when they come across a sound they find difficult to pronounce, they will replace it with a sound they can produce.

Adapted from: Scientific Editing

twelve

Unit 1: I speak, therefore I am

8 Find the words in the text. 1

reading the first language of a person, the mother tongue a noun or noun phrase functioning as the main component of a sentence, which the other parts of the sentence ‘give information’ about

a type of word used to refer to things, people or places (e.g. ‘book’, ‘boy’, ‘bed’)

a type of word used to describe an action (e.g. ‘to read’, ‘to walk’, ‘to sleep’)

a stage in language acquisition in which the child speaks in sentences of 3 to 4 words

a speech sound that is produced with relatively open mouth so that breath is not obstructed (e.g. ‘a’, ‘e’, ‘i’)

a word that expresses denial

a stage in language acquisition in which the child uses single words to communicate when a particular grammatical rule is applied too widely (e.g. not taking irregular verbs into account) the part of a sentence that contains the verb and that says something about ‘the main component’ of a sentence

the process of learning a (first) language

two bands of smooth muscle tissue that vibrate when you speak

to understand

experimenting with sounds by repeating the same letter or syllable without forming a word (e.g. ‘bababa’, ‘dadadede’) a stage in language acquisition in which the child uses 2-word sentences to communicate

a type of word used to add specific information to things, people, places (e.g. ‘red’, ‘tall’, ‘comfortable’)

a speech sound in which the breath is at least partly obstructed (e.g. ‘f’, ‘t’, ‘k’)

thirteen

Unit 1: I speak, therefore I am

9 Listen to the audio clips in which you will hear babies and children talk. Use your notes to decide in which stage they belong. Explain your answer.

Stage

Clip

listening

Explanation

10 Over to you. Find a podcast on ‘Babylab’ and make notes, using the Cornell method.

listening

a Preparation: go to babiology.com and scroll through the Babylab-podcasts. Choose a podcast on a topic that interests you. Prepare your notes by making columns. b Action: − Listen to the first 10 minutes of the podcast and make notes in the right-hand column while listening. Complete your notes afterwards by writing questions in the left-hand column. Check whether you can answer the questions yourself, covering your notes. − Instead of writing a summary, use your notes to report on the content of the podcast to the rest of the class.

fourteen

c Reflection: check your notes by filling in the checklist. Ask your teacher for feedback.

Unit 1: I speak, therefore I am

writing

speaking

Checklist: taking Cornell notes

Yes

I think so

1 Content and structure • I took notes on the relevant topics in the podcast in the right‑hand column. • I formulated questions in the left-hand column based on my notes. • I was able to answer the questions in the left-hand column when I covered my notes. • I was able to reflect on the material by asking questions. • I was able to summarise the content of the podcast with the information in my notes. • I was able to present to the class based on my notes. 2 Language • I used telegraphic sentences when taking notes. • I used full sentences to complete the summary. • I paid attention to my pronunciation when presenting.

Feedback

STEP 2 ⁄ Language default

Analysing problems in language acquisition

SPOKEN INTERACTION

2 Read both passages from The Jungle Book and answer the questions.

reading

1 Look at the image. Does it remind you of a story you know? If so, which one? If not, explain what you see.

RUDYARD KIPLING

Joseph Rudyard Kipling (1865-1936) was a British novelist, short storywriter, poet and journalist. He was the first Brit to receive the Nobel prize for literature in 1907. In a 1995-survey, the English voted his poem ‘If’ (1910) as their favourite English poem.

Adapted from: Wikipedia

fifteen

Many of his works reflect his association with British India, where he was born and where he spent a considerable amount of time. The Jungle Book (1894), for example, is a collection of stories about a young boy who is raised by wolves in the Indian forest. It is believed that Mowgli, one of the main characters in The Jungle Book was based on Dina Sanichar, a boy who was found among wolves in a cave in 1872.

Unit 1: I speak, therefore I am

a Summarise what happens in both passages.

b Explain the irony in the last sentence of the first passage.

When Mowgli left the wolf’s cave after the fight with the Pack at the Council Rock, he went down to the ploughed lands where the villagers lived, but he would not stop there because it was too near to the Jungle, and he knew that he had made at least one bad enemy at the Council. So he hurried on, keeping to the rough road that ran down the valley, and followed it at a steady jog-trot for nearly twenty miles, till he came to a country that he did not know. The valley opened out into a great plain dotted over with rocks and cut op by ravines. At one end stood a little village (…)[.]

c Is Kipling’s description of Mowgli learning ‘man’s talk’ a good one? Why (not)?

Mowgli walked on, for he was feeling hungry and when he came to the village gate he saw the big thornbush that was drawn up before the gate at twilight pushed to one side. ‘Umph! He said, for he had come across more than one such barricade in his night rambles after things to eat. “So men are afraid of the People of the Jungle here also.” He sat down by the gate, and when a man came out he stood up, opened his mouth, and pointed down it to show that he wanted food. The man stared, and ran back up the one street of the village shouting for the priest, who was a big, fat man dressed in white, with a red-and-yellow mark on his forehead. The priest came to the gate, and with him at least a hundred people, who stared an talked an shouted and pointed at Mowgli. “They have no manners, these Men Folk,” said Mowgli to himself. “Only the grey ape would behave as they do.” So he threw back his long hair and frowned at the crowd.

Source: Joseph Rudyard Kipling, The Jungle Book, Tiger! Tiger!, p. 67-69

sixteen

Unit 1: I speak, therefore I am

When the villagers meet Mowgli, the priest asks Messua, who recently lost her son in the jungle, to take him into her home.

Mowgli was uneasy, because he had never been under a roof before; but as he looked at the thatch, he saw that he could tear it out any time if he wanted to get away, and that the window had no fastenings. “What is the good of a man,” he said to himself at last, “if he does not understand man’s talk? Now I am as silly and dumb as a man would be with us in the Jungle. I must learn their talk.” It was not for fun that he had learned while he was with the wolves to imitate the challenge of bucks in the Jungle and the grunt of the little wild pig. So as soon as Messua pronounced a word Mowgli would imitate it almost perfectly, and before dark he had learned the names of many things in the hut.

Source: Joseph Rudyard Kipling, The Jungle Book, Tiger! Tiger!, p. 67-69

3 Watch the story behind the real Mowgli and complete the table.

WATCHING

a What is the only thing the real Mowgli has in common with his depiction in The Jungle Book?

Dina Sanichar

Mowgli

Unit 1: I speak, therefore I am

seventeen

b List the differences in the table below, using information from the documentary as well as the original text.

c Knowing that children are born with the capacity to learn a language, why do you think Dina Sanichar was not able to do so?

d Complete the text with the following words: behaviour – care – confined – feral – isolated – language – wild

child, a young individual who lived

Dina Sanichar was a

from human contact from a very young age, with little or no experience of human , social who grew up in the at home.

. The term can refer to children

as well as children who were neglected, abused and

DID YOU KNOW?

Throughout history and throughout the world, several children have been discovered in surroundings unusual for children to grow up in. Even though not all of these children grew up ‘in the wild’, they are still referred to as feral children, as they did not come into contact with society until they were found. One of these children, maybe even the most famous one, is Genie, an American girl who was the victim of severe child abuse and neglect while growing up in the 1960s. This had a tremendous effect on her social and language skills, which made it hard for her to adapt to and integrate in society.

Adapted from: Wikipedia

4 Read the headline of the text on p. 19. What do you think the text will be about?

reading

Starved, tortured, forgotten: Genie, the feral child who left a mark on researchers

5 Read the first part of the text and answer the following questions. a Genie was discovered in the 1960s. Why did The Guardian decide to write about her again in 2016? eighteen

Unit 1: I speak, therefore I am

reading

b Why does the author of the text refer to the wolf child of Hesse, the bear child of Lithuania, and Victor of Aveyron?

c Why does the author refer to ‘Vietnam burning’ and ‘The Beatles in the midst of breaking up’?

d Why did the case of Genie appeal to linguists?

Part I

More than four decades after she appeared in a Los Angeles County welfare office, her fate is unclear – but she has changed the lives of those who knew her.

She hobbled into a Los Angeles county welfare office in October 1970, a stooped, withered waif with a curious way of holding up her hands, like a rabbit. She looked about six or seven. Her mother, stricken with cataracts, was seeking an office with services for the blind and had entered the wrong room.

But the girl transfixed welfare officers.

At first they assumed autism. Then they discovered she could not talk. She was incontinent and salivated and spat. She had two nearly complete sets of teeth - extra teeth in such cases are known as supernumeraries, a rare dental condition. She could barely chew or swallow, and could not fully focus her eyes or extend her limbs. She weighed just 59lb (26kg). And she was, it turned out, 13 years old.

It made news as one of the US’s worst cases of child abuse. How, asked Walter Cronkite, could a quiet residential street, Golden West Avenue, in Temple City, a sleepy Californian town, produce a feral child – a child so bereft of human touch she evoked cases like the wolf child of Hesse in the 14th century, the bear child of Lithuania in 1661 and Victor of Aveyron, a boy reared in the forests of revolutionary France?

Over time, Genie slipped from headlines – Vietnam was burning, the Beatles were in the midst of breaking up – but she retained the attention of scientists, especially linguists. She was a prize specimen for having grown up without language or social training. Could she now learn language? stooped: having the head and shoulders bent forwards withered: shrunken, wrinkled (from age or disease) waif: neglected person (especially a child) to transfix: to catch attention and interest to salivate: to produce and discharge saliva (‘speeksel’)

Unit 1: I speak, therefore I am

nineteen

Her name – the name given to protect her identity – was Genie. Her deranged father had strapped her into a handmade straitjacket and tied her to a chair in a silent room of a suburban house since she was a toddler. He had forbidden her to cry, speak or make noise and had beaten and growled at her, like a dog.

Jostling for access, they took brain scans and audio recordings, performed countless tests, compiled reams of data, published papers. And gradually they, too, with a few exceptions, also lost interest.

“I’m pretty sure she’s still alive because I’ve asked each time I called and they told me she’s well,” said Susan Curtiss, a UCLA linguistics professor who studied and befriended Genie. “They never let me have any contact with her. I’ve become powerless in my attempts to visit her or write to her. I think my last contact was in the early 1980s.”

By the late 1970s, Genie had vanished back into obscurity. As she was a ward of California, authorities housed her in state-run institutions, her location secret. Four decades later, she apparently remains in state care.

Authorities rebuffed Guardian inquiries. “If ‘Genie’ is alive, information relating to her is confidential and it does not meet the criteria of information that is available through a PRA Request,” said Kim Tsuchida, a public records act coordinator for California’s department of social services. “We would suggest that you contact Los Angeles County with your request.” LA County referred the query to mental health authorities, who did not respond to a written request.

With Genie approaching her 60th birthday, her fate remains an enigma. Has she learned to speak? To engage with the world? To be happy? Only a handful of people know. But the story has an additional chapter: the fate of the other players. Almost all, it turns out, were scarred. Scarred psychologically and professionally in ways none anticipated, and which in some cases endure to this day.

There were the scientists and carers who studied and, in some cases, loved her. Their collaboration collapsed into feuds, vendettas and muck-raking.

There was the author who chronicled the saga and found it taking over his life. He moved to Paris to escape only for Genie’s story to follow him and manifest itself in other ways. There was Genie’s older brother, who also suffered grievously under their father. He lived, in his own words, like a “dead man” and failed his own daughter – Genie’s niece – who in turn failed her daughters. The story begins with Genie’s father, Clark Wiley. He grew up in foster homes in the Pacific north-west and worked as a machinist on aircraft assembly lines in LA during and after the second world war. He married Irene Oglesby, a dust bowl migrant 20 years his junior. A controlling man who hated noise, he did not want children. Yet children came. The first, a baby girl, died after being left in a cold garage. A second died from birth complications. A third, a boy named John, survived, followed five years later by the girl who would become known as Genie.

to jostle: to struggle, compete ward: young person under the care of a guardian appointed by their parents or a court to rebuff: to reject feud: fight, dispute muck-raking: searching out and publicising a scandal about famous people to unravel: to break down

twenty

Unit 1: I speak, therefore I am

When a drunk driver killed Wiley’s mother in 1958, he unravelled into anger and paranoia. He brutalised John and locked his 20-month-old daughter alone in a small bedroom, isolated and barely able to move. When not harnessed to a potty seat, she was constrained in a type of straitjacket and wire mesh-covered crib. Wiley imposed silence with his fists and a piece of wood. That is how Genie passed the 1960s. Irene, stricken by fear and poor eyesight, finally fled in 1970. Things happened swiftly after she blundered into the wrong welfare office. Wiley, charged with child abuse, shot himself. “The world will never understand,” said the note.

Source: The Guardian

6 Complete Genie’s fact file. If you can’t find the information in the first part of the text, leave it blank for now.

PERSONAL DETAILS

reading

Date of birth: Age when found:

Description:

Name:

BACKGROUND

Parents:

Circumstances in which she grew up:

Current guardian:

Unit 1: I speak, therefore I am

twenty-one

DEVELOPMENT

Progress in language acquisition:

Progress in skills:

7 Read the second part of the text and answer the following questions.

a What did linguists discover by studying her?

b How come a girl who could barely speak could perform well on intelligence tests?

c Why does the author refer to a genie in Arab folklore?

d Complete the fact file in the previous question with the missing information.

twenty-two

Unit 1: I speak, therefore I am

reading

Part II Genie, a ward of court, was moved to LA’s children’s hospital. Pediatricians, psychologists, linguists and other experts from around the US petitioned to examine and treat her, for here was a unique opportunity to study brain and speech development – how language makes us human.

Genie could speak a few words, such as “blue”, “orange”, “mother” and “go”, but mostly remained silent and undemonstrative. She shuffled with a sort of bunny hop and urinated and defecated when stressed. Doctors called her the most profoundly damaged child they had ever seen.

Progress initially was promising. Genie learned to play, chew, dress herself and enjoy music. She expanded her vocabulary and sketched pictures to communicate what words could not. She performed well on intelligence tests.

“Language and thought are distinct from each other. For many of us, our thoughts are verbally encoded. For Genie, her thoughts were virtually never verbally encoded, but there are many ways to think,” said Curtiss, one of the few surviving members of the research team. “She was smart. She could hold a set of pictures so they told a story. She could create all sorts of complex structures from sticks. She had other signs of intelligence. The lights were on.”

Curtiss, who was starting out as an academic at that time, formed a tight bond with Genie during walks and shopping trips (mainly for plastic buckets, which Genie collected). Her curiosity and spirit also enchanted hospital cooks, orderlies and other staff members.

Genie showed that lexicon seemed to have no age limit. But grammar, forming words into sentences, proved beyond her, bolstering the view that beyond a certain age, it is simply too late. The window seems to close, said Curtiss, between five and ten.

Yet there was to be no Helen Keller-style breakthrough. On the contrary, by 1972, feuding divided the carers and scientists. Jean Butler, a rehabilitation teacher, clashed with researchers and enlisted Irene, Genie’s mother, in a campaign for control. Each side accused the other of exploitation.

“Does language make us human? That’s a tough question,” said the linguist. “It’s possible to know very little language and still be fully human, to love, form relationships and engage with the world. Genie definitely engaged with the world. She could draw in ways you would know exactly what she was communicating.”

to defecate: to empty your bowels to bolster: to strengthen Helen Keller: a girl who lost her sight and hearing due to severe illness when she was 19 months old. The breakthrough referred to here was how she still managed to learn sign language, as well as reading and writing. foster home: home where children (often without family) are taken in and cared for

Unit 1: I speak, therefore I am

twenty-three

Research funding dried up and Genie was moved to an inadequate foster home. Irene briefly regained custody only to find herself overwhelmed – so Genie went to another foster home, then a series of state institutions under the supervision of social workers who barred access to Curtiss and others. Genie’s progress swiftly reversed, perhaps never to be recovered.

Russ Rymer, a journalist who detailed the case in the 1990s in two New Yorker articles and a book, Genie: a Scientific Tragedy, painted a bleak portrait of photographs from her 27th birthday party.

“A large, bumbling woman with a facial expression of cowlike incomprehension … her eyes focus poorly on the cake. Her dark hair has been hacked off raggedly at the top of her forehead, giving her the aspect of an asylum inmate.” Jay Shurley, a professor of psychiatry and behavioural science who was at that party, and her 29th, told Rymer she was miserable, stooped and seldom made eye contact. “It was heartrending.”

A veil cloaks Genie’s life since then. But a melancholy thread connects those she left behind.

In an interview, Rymer said Genie’s story affected all those involved, himself included. “It made for a pretty intense and disturbing several years. This took over my life, my worldview. A lot about this case left me shaken. Maybe this is cowardice – I was relieved to be able to turn away from the story. Because anytime I went into that room [where Genie grew up], it was unbearable.”

Curtiss, who wrote a book about Genie, and is one of the few researchers to emerge creditably from the saga, feels grief-stricken to this day. “I’m not in touch with her, but not by my choice. They never let me have any contact with her. I’ve become powerless in my attempts to visit her or write to her. I long to see her. There is a hole in my heart and soul from not being able to see her that doesn’t go away.”

For the surviving scientists it is regret tinged with anguish. Shurley’s verdict: “She was this isolated person, incarcerated for all those years, and she emerged and lived in a more reasonable world for a while, and responded to this world, and then the door was shut and she withdrew again and her soul was sick.”

Genie infiltrated his recent novel, Paris Twilight, set in France in 1990, said Rymer. “The novel details, as the Genie tale does more literally, an attempted escape from a small dank room and a thwarted life, into a palatial future that doesn’t in the end work out. It’s about the connection between science and emotion. So right there I’m still trying to resolve some of these issues. [In my experience] as a journalist, Genie, in ways I could never anticipate, brought up issues that will never release me.”

But Rymer discovered he could not turn away, not fully. “I generally go on to another story. But I had to confront how much I identified with Genie. Being shut up, unable to express herself, I think that speaks to everyone. I think the person I was writing about was to some extent myself.”

twenty-four

The legacy of Clark Wiley’s abuse never released Genie’s brother, John. After the beatings, and witnessing his sister’s suffering, he told ABC News in 2008: “I feel at times God failed me. Maybe I failed him.” He saw Genie for the last time in 1982 and lost touch with their mother, who died in 2003. “I tried to put [Genie] out of my mind because of the shame. ButI’m glad she got some help.” bumbling: incompetent raggedly: in a way that is not smooth veil: something that covers or conceals to incarcerate: to imprison, confine

Unit 1: I speak, therefore I am

After brushes with the law, John settled in Ohio and worked as a housepainter. He married and had a daughter, Pamela. But the marriage crumbled and his daughter – Genie’s niece – turned to drugs.

In 2010, police found Pamela intoxicated and charged her with endangering her two daughters, Genie’s grandnieces. There would be no miracle turnaround, no happy ending. John, who had diabetes, died in 2011. Pamela, who apparently never met her aunt Genie, died in 2012. In Arab folklore, a genie is a spirit imprisoned in a bottle or oil lamp who, when freed, can grant wishes. The waif who shuffled into the world in 1970 enchanted many people in that brief, heady period after her liberation.

But granting wishes, like so much else, proved beyond her, perhaps because she never truly escaped. Source: The Guardian

8 This text is as much about the scientists involved in Genie’s life as it is about Genie herself. Write a summary on what is said about the scientists working with Genie, and how the case turned out in the end.

writing

reading

a Preparation: check both strategies in the Summary (‘How to take Cornell notes’ and ‘How to write a summary’). You can use Cornell as a basis for your summary but keep in mind that a summary is an objective account. Read the text again, highlight and/or take notes.

b Action: − Divide the text in sections. Read each section again, organise the highlights in your notes in the right-hand column. − Complete your notes afterwards by writing questions in the left-hand column. Check whether you can answer the questions yourself, covering your notes. − Summarise the main ideas of the article in your own words. − Make sure that your summary is only 1 paragraph written in full sentences.

c Reflection: check your notes and summary by filling in the checklist. Ask your teacher for feedback. Checklist: writing a summary

Yes

I think so

1 Content and structure • I logically divided the text into sections. • I organised the highlighted passages in the note-taking column. • I formulated questions in the left-hand column based on my notes. • I was able to write a summary that covered the main ideas of the article in my own words. 2 Language • I used full sentences. • I used correct grammar, vocabulary and spelling.

twenty-five

Feedback

Unit 1: I speak, therefore I am

Word

Translation

My notes

1 LANGUAGE ACQUISITION to acquire

verwerven

to babble

brabbelen

bilingual

tweetalig

to grasp

begrijpen

a mother tongue

een moedertaal

a native language

een eigen taal, moedertaal

a native speaker

een moedertaalspreker

overgeneralisation

overgeneralisatie

vocal cords

stembanden

VOCABULARY

SUMMARY

2 LINGUISTICS

a modifier

a negative sentence

een bepalend woord (bijvoeglijke of bijwoordelijke bepaling)

een ontkenning

een zelfstandig naamwoord

a noun

een medeklinker

a consonant

a predicate

een predikaat, gezegde

a subject

een onderwerp

a verb

een werkwoord

a vowel

een klinker

3 FERAL CHILD

mishandelen

behaviour

gedrag

to confine

opsluiten

to abuse

an environment

een omgeving

to isolate

isoleren, afzonderen

to neglect

verwaarlozen

twenty-six

Unit 1: I speak, therefore I am

LANGUAGE & CULTURE

1 Levels of language proficiency

2 Stages in language acquisition

twenty-seven

− Around the age of 6 months, babies start babbling. They start using their vocal cords to experiment with sounds. − Most children say their first word around their first birthday. They start expressing themselves through the use of single words and, in doing so, have entered the holophrastic stage. − They enter the 2-word stage around the age of 18 months, when they start combining 2 words to communicate. − Children in kindergarten have reached the telegraphic stage, in which they express themselves with sentences consisting of 3-4 words.

Unit 1: I speak, therefore I am

STRATEGY

HOW TO take Cornell notes

Cue Column

Note-taking Column Record

– Formulate questions based on the notes in the right-hand column.

– Writing questions helps to clarify meanings, reveal relationships, etc.

− Use the note-taking column using telegraphic sentences. − Use key words and phrases. − Listen for sentences that can help you structure your notes beforehand. e.g. ‘There are 3 reasons for this.’ = you can create room for 3 reasons − Use abbreviations. e.g. ‘w/’ = with, ‘indv.’ = individual, ‘thru’ = through … Avoid repetition. Speakers often rephrase their ideas − more than once. You don’t have to do this in the notes.

2 Questions

Recite

Cover the note-taking column with a sheet of paper. Then, looking at the questions or cue-words in the question and cue column only, say aloud, in your own words, the answers to the questions, facts, or ideas indicated by the cue-words.

Reflect

Reflect on the material by asking yourself questions. e.g. What’s the significance of these facts? What principle are they based on? How can I apply them? How do they fit in with what I already know? What’s beyond them?

Review

Spend at least 10 minutes every week reviewing all your previous notes. If you do, you’ll retain a great deal for current use, as well as for the exam.

[SUMMARY] twenty-eight

Unit 1: I speak, therefore I am

HOW TO summarise a text Before writing

Read the text 1st time: skim the text. Who, what, where, when?

2nd time: read in detail. – –

Take notes. Highlight main ideas in general and by section. Look for topic sentences: = the most important sentence of a paragraph = often the first sentence or last sentence; the rest of the paragraph is a further explanation and/or example

–

2 While writing Write your summary

1st draft: reconstruct the text in your own words. – Start with the topic sentences. – Add the most important facts or examples.

2nd draft: check these aspects of your text: – Check your language. – Check the type of work, title, author, main point. – Did you summarise as a whole? – Does your summary follow the logic of the original article? – Is your summary neutral? (Don’t give your opinion!) – Is your text not too long (about ¼ of the original)?

After writing

Complete your summary

Hand in your summary.

Unit 1: I speak, therefore I am

twenty-nine

Let someone else read the summary. Can they understand the meaning of the text?

HOW TO check if your sources are reliable and useful To determine if you can use the information you find online for your purposes, you can use different methods, such as the CRAAP method. Ask yourself the questions associated with each letter.

C Currency

R Relevance

Check the timeliness of the information. • When was the information published or posted? • Has the information been revised or updated? • Is the information current or out-of-date for your topic? • Are the links functional?

A Authority

Is the information on the site important and relevant for your needs? • Does the information relate to your topic or answer your question? • Who is the intended audience? • Is the information at an appropriate level (i.e. not too elementary or advanced for your needs)? • Have you looked at a variety of sources before determining this is one you will use? • Would you be comfortable using this source for a research paper?

What or who is the source of the information? • Who is the author/publisher/source? • Are the author’s credentials given? What are they? • What are the author’s qualifications to write on the topic? • Is there contact information, such as a publisher or email address? • Does the URL reveal anything about the author or source? Examples: – .com (commercial), .edu (educational), .gov (U.S. government) – .org (nonprofit organization) – .net (network)

Accuracy

What can you say about the reliability, truthfulness and correctness of the content? • Where does the information come from? • Is the information supported by evidence? • Has the information been reviewed? • Can you verify any of the information in another source or from personal knowledge? • Does the language or tone seem biased and free of emotion? • Are there spelling, grammar or other typographical mistakes?

Purpose

What is the reason the information exists? • What is the purpose of the information? To inform? Teach? Sell? Entertain? Persuade? • Do the authors make their intentions or purpose clear? • Is the information fact? Opinion? Propaganda? • Does the point of view appear objective and impartial? • Are there political, ideological, cultural, religious, institutional or personal biases? thirty

Unit 1: I speak, therefore I am

CHECK OUT DISCUSSING A FERAL CHILD ORIENTATION

Join linguists in their search of understanding language acquisition by looking into the case of a feral child. You are going to do research about one of the many feral children that have been discovered throughout history. Then you are going to create a podcast in which you present their story and discuss their language development, comparing it with the stages of language acquisition.

PREPARATION

1 Review the stages of language acquisition, the terminology covered in this unit and the strategies in the Summary on p. 26 and on diddit.

2 Choose one of the feral children in the list provided by your teacher, or choose your own.

3 Collect information: find at least 2 sources (articles, videos …) on the child you have to discuss. Make sure your sources are relevant for your research. Use the tips you will get from your teacher (CRAAP). 4 Check your sources.

− Do the sources you have found include some information on the child’s language skills when they were found and/or how their language skills developed afterwards?

− Are your sources relevant and reliable?

ACTION

5 Organise the information in your sources using the Cornell method.

writing

− Discuss the child’s background (parents, birth, country, supposed mother tongue …). − Discuss why they are considered to be a feral child. − Discuss their language when they were found (and why this was the case).

− Discuss their language development from the moment they were found, predicting (if they are still alive) whether or not they will still acquire language entirely. (When information on their language development is limited, make an educated guess based on what you have learned in this unit.)

6 Put your findings in a podcast of about 5 minutes. Check Unit 6 in On Track 5 if you are unsure about the structure of a good podcast.

speaking

7 Use relevant terminology and concepts to report your findings.

9 Pay attention to your pronunciation.

thirty-one

8 Inform your listeners in a spontaneous way (don’t read word-for-word from a prepared text).

Unit 1: I speak, therefore I am

REFLECTION 10 Check your speaking skills by filling in the checklist. Ask your teacher for feedback. Checklist: discussing the language acquisition of a feral child

Yes

I think so

1 Content and structure • I used relevant terminology correctly. • My podcast shows the research I have done into the case of the feral child. • All the required elements are included in my podcast. • I used information from this unit to argue my claims about the child’s language development. • My podcast has a clear structure and is about 5 minutes long. 2 Language • I used correct grammar. • I used relevant and varied vocabulary.

3 Fluency • My podcast sounds spontaneous; I did not read word-for-word from a prepared text. • I paid attention to my pronunciation and intonation.

Feedback

thirty-two

Unit 1: I speak, therefore I am

UNIT 2: SUPERCALIFRAGILISTICEXPIALIDOCIOUS! CHECK IN Step 1:

Building words

Step 2:

Writing with new words

MAIN TRACK

SUMMARY

CHECK OUT: ANALYSING WORDS

CHECK IN WHAT ARE THOSE? SPOKEN INTERACTION

1 Examine some of the rarest English words! Discuss with a partner. a What could they mean?

IMPIGNORATE

FLIBBERTIGIBETT

B U M B E R S H O OT

LOLLYGAG BIBBLE S N O L LY G O S T E R

WABBIT

XERTZ

WABBIT

CATTYWAMPUS FLIBBERTIGIBETT GARDYLOO

I M P I G N O R AT E

DONNYBROOK

GUBBINS TARADIDDLE GUBBINS XERTZ

BUMBERSHOOT COMEUPPANCE

SNICKERSNEE MALARKEY

TARADIDDLE

M A L A R K E Y SIALOQUENT YARBOROUGH

PANDICULATION

L O L LY G A G

MALARKEY

QUIRE

SNICKERSNEE

RATOON

BROUHAHA

FLIBBERTIGIBETT

QUIRE

YARBOROUGH

LOLLYGAG

ABSQUATULATE E R I N A C E O U S N U D I U S T E R T I A N

BROUHAHA

IN PAUCILOQUENT

NINCOMPOOP

BROUHAHA RATOON Z OA N T H R O P Y SNICKERSNEE

BUMFUZZLE

W I D D E R S H I N S

DONNYBROOK A BIBLIOPHOBIA PA U C I LO Q U E N T B I B B L E WIDDERSHINS C O L L Y W O B B L E S TARADIDDLE NUDIUSTERTIAN N I N C O M P O O P

ERINACEOUS

QUIRE

COMEUPPANCE QUIRE

SNOLLYGOSTER

WIDDERSHINS

PA U C I LO Q U E N T

BIBBLE YARBOROUGH

ABIBLIOPHOBIA

ERINACEOUS

SNOLLYGOSTER

NUDIUSTERTIAN

BLOVIATE

BLOVIATE B O R B O R YG M QUIRE ABSQUATULATE

CATTYWAMPUS

ABIBLIOPHOBIA

IMPIGNORATE

COLLYWOBBLES G U B B I N S BUMBERSHOOT

COLLYWOBBLES

WA B B I T S I A LO Q U E N T

NINCOMPOOP

CATTYWAMPUS

PANDICULATION

COMEUPPANCE

DONNYBROOK

BORBORYGM Z O A N T H R O P Y QUIRE BLOVIATE COLLYWOBBLES

S I A LO Q U E N T

BORBORYGM

BUMFUZZLE ABSQUATULATE

ABIBLIOPHOBIA

BUMBERSHOOT

BUMFUZZLE GA R D Y LO O RATOON XERTZ

DONNYBROOK

BIBBLE

PA U C I LO Q U E N T

GA R DY LO O

b What tips or tricks do you know for making sense of them?

ZOANTHROPY

2 Form groups and explain one of the words. a Use a thesaurus to find its meaning. b Also find its etymology.

c Explain your findings to the group. Think of a mnenomic so your audience might remember the word.

Did you know?

A mnemonic is a quick and easy trick we can use to remember something. It is derived from the Greek word for ‘to remember’. Think of the word ‘memo’ as a mnemonic! What mnemonics do you use?

thirty-four

Unit 2: Supercalifragilisticexpialidocious!

speaking

MAIN TRACK STEP 1 ⁄ Do you double-talk? Building words

1 Examine the following picture and discuss.

SPOKEN INTERACTION

a What do you see?

b What could have happened?

2 Watch the clip.

WATCHING

a Was your prediction correct?

b What genre could this film belong to? Why?

c What do you already know about the film or its main character?

d How might the story continue onwards from the picture above?

3 Now watch what happens after she wins the race and answer the questions.

WATCHING

a How does the woman feel after winning the race?

thirty-five

Unit 2: Supercalifragilisticexpialidocious!

b What assumption does the journalist have at the start of the race? c How does she react?

e What could it mean? f

What word can you find in her word?

d What word does she use to describe the experience? Try to spell it!

g What other words do you find in it? Do they exist?

Morphology

LANGUAGE & CULTURE

In languages we can discern different types of words based on their form or morphology. The way we form and use a word often depends on the context in which we want to use it. This gives meaning to that specific word.

In Mary Poppins’ ‘supercalifragilisticexpialidocious’ we can see how the word super functions as the root word. This is the most basic form a word can take, without any additional particles attached to it. Once Poppins adds additional parts to ‘super’, it becomes a derivative word, meaning that its form has been changed. See p. 48

thirty-six

Unit 2: Supercalifragilisticexpialidocious!

4 Listen to the song again. Pay attention to how the special word is described.

WATCHING

a What advantages and disadvantages does the usage of the word bring? Organise your arguments.

b Why might she refer to the word’s sound as ‘atrocious’?

c Let’s examine that sound. Complete the following lyrics.

Even though the sound of it

Is something quite

If you say it loud enough

You’ll always sound

thirty-seven

d Complete the following word fields around the connotation of the 3 words you filled in. Add 3 synonyms and 3 antonyms to each field.

Unit 2: Supercalifragilisticexpialidocious!

e Each word is part of a different field, but in the song they sound quite alike. How does the song create sound? 5 Examine the following dictionary entry.

reading

a How is the word built?

atrocious (adj.)

1660s, “heinous, extremely criminal, enormously cruel,” from stem of Latin atrox “fierce, savage, cruel” (see atrocity) + -(i)ous. Weakened colloquial sense “very bad” is late 19c. Related: Atrociously; atrociousness. Related entries & more

Atrocious =

b Do the same for the word ‘precocious’. How is it comparable?

c Research the –(i)ous particle. Explain its function and what it is called.

d Why does Poppins’ word end in –(i)ous?

6 Read the article on p. 40 on the history of ‘supercalifragilisticexpialidocious’ and answer the questions. a Is the information reliable? Discuss with your neighbour before reading the text.

b Examine the statements. Are the statements true or false? Explain your answers. Statement

True

False

Basing their word on double-talk, the Sherman brothers started with the suffix –(i)ous, because they were looking for an adjective.

thirty-eight

Unit 2: Supercalifragilisticexpialidocious!

reading

Statement 2

True

False

Double-talk was a language mixing technique developed in espionage, as it made certain messages harder to be deciphered.

The Sherman brothers used affidavits to win the copyright case.

The Sherman brothers kept changing the meaning of the word throughout history to fine tune its usage and meaning.

The phrase ‘super colossal’ is less efficient than the created word ‘supercalifragilistic’.

c What is a ‘variant’? Give an example.

d Explain the difference in form and usage of ‘supercalifragilistic’ and ‘supercalifragilistically’.

e What do you think about the precociousness of ‘supercalifragilisticexpialidocious’?

thirty-nine

Unit 2: Supercalifragilisticexpialidocious!

The Real Origin of ‘Supercalifragilistic’

The word appeared in print more than thirty years before Mary Poppins. For many people, supercalifragilisticexpialidocious and the 1964 movie Mary Poppins are inextricably linked. Indeed, it was this movie that popularized the word. The songwriters, brothers Richard and Robert Sherman, have explained the word as originating in the same way they, like many others, used to make up humorously big, nonsensical words as children.

Coincidentally, there was also a song called Supercalafajalistickespeealadojus that was written in 1949, and the authors of the song brought a suit against the Sherman brothers for copyright infringement. In the end, the court decided in the Shermans’ favor because, among other things, affidavits were produced that claimed that variants of the word were known many years prior to 1949, making the plaintiffs’ claim unfounded.

Remember when we used to make up the big double-talk words, we could make a big obnoxious word up for the kids and that’s where it started. “Obnoxious” is an ugly word so we said “atrocious,” that’s very British. We started with “atrocious” and then you can sound smart and be precocious. We had “precocious” and “atrocious” and we wanted something super colossal and that’s corny, so we took “super” and did double-talk to get “califragilistic” which means nothing, it just came out that way.

In fact, the earliest known written record of a variant is for supercaliflawjalisticexpialidoshus from an “A-muse-ings” column by Helen Herman in The Syracuse Daily Orange (Syracuse University), March 10, 1931. The columnist muses about her made-up word, describing it as including “all words in the category of something wonderful” and “though rather long and tiring before one reaches its conclusion, ... once you arrive at the end, you have said in one word what it would ordinarily take four paragraphs to explain.”

He crammed a generous chunk of the mix in his mouth and blew a bubble. The bubble rose, rose higher. It was a big beautiful bubble, … a supercalifragilisticexpialidocious bubble. — Robert Hendrickson, Smithsonian, July 1990

The word supercalifragilisticexpialidocious in Mary Poppins is said to be simply a word used as «something to say when you have nothing to say,» but the mouthful of nonsensical syllables certainly has brought cheer to audiences for decades. That cheer has inspired people to use it, like Helen Herman used her word, for things that are extraordinarily good or wonderful.

People also began to use a shortened adjective form, supercalifragilistic, as well as the adverbial supercalifragilistically. These forms don’t appear often, but when they do, they mean something along the lines of “wonderful” or “amazing”.

If Trump is going to start trade wars and raise tariffs, he should explain how his supercalifragilistic deals will both punish these countries and make goods cheaper for American consumers. — David Harsanyi, Times Record News (Wichita Falls, Texas), 12 Mar. 2016

forty

Unit 2: Supercalifragilisticexpialidocious!

For a real good time, just tell your parents to take you to any one of the supercalifragilistically spectacular places listed below. — Key, 7 Feb. 1987

Finally, what of the claim made in Mary Poppins that saying the word loud enough will cause the speaker to sound precocious? We do not have sufficient evidence to support that conclusion at this time.

Source: Merriam Webster

affidavit: voluntarily written statement under oath to cram: to stuff tariff: rate

7 Examine the underlined words in the article. Use the context and their formation to find their meaning and word type. a Analyse the words in the following table, like the example. Root word sense

-ical

non-

Suffix

Term

nonsensical

extraordinarily

including

unfounded

inextricably

Definition

Word type

b How do we refer to the particles added to the front of the root word? Add the term to the table. c What happens between the root word and the suffix in ‘extraordinarily’ and ‘including’? d What words in the article have a suffix instead?

forty-one

Unit 2: Supercalifragilisticexpialidocious!

e What is the antonym of the verb ‘to include’? f

What does that semantic relation reveal regarding word formation?

8 Let’s do some double-talk!

SPOKEN INTERACTION

a Preparation: − Consult the list of prefixes and suffixes in the Summary on p. 49. − Start with a root word. This should be a noun. − Add a prefix and suffix to your double-talk word. − Think of an appropriate context in which to use your word. What meaning do you want it to have? − Use the word builder below to test a couple of words. Root word

Suffix

Prefix

b Action: use your double-talk words appropriately during a conversation. Your teacher will give you some topics to talk about. Can you sneak in your words? Can you guess the meaning of the double-talk words you hear? c Reflection: check your task by filling in the checklist. Ask your teacher for feedback. Checklist: my double-talk word

Yes

I think so

1 Content and structure • The word has a distinguishable root word. • The word has all necessary added parts. • There is a clear context for using the word. • I started and ended the conversation correctly. • I kept the conversation going. 2 Language • I used correct grammar. • I used relevant and correct vocabulary. • I paid attention to my pronunciation.

Feedback

forty-two

Unit 2: Supercalifragilisticexpialidocious!

STEP 2 ⁄ Twas brillig

Writing with new words

1 Examine the following stanza and answer the questions.

reading

a What do you think it means? Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.

b Look up the words from the stanza you don’t recognise. What do you find? c What might explain your findings?

Neologisms

d Would you continue reading after this stanza? Why (not)?

LANGUAGE & CULTURE

Writing is the art of finding the correct word to precisely describe a situation or an emotion. It might occur that a writer struggles to find such a sharp and exact word, or that it is just absent from our dictionaries and thesauruses. In that case the writer must resort to some DIY. Literature sometimes requires writers to invent a word.

An invented word is called a neologism. It stems from the Greek ‘neo’, which means ‘new’. That is combined with the word ‘logos’, which is Greek for ‘word’. The term thus literally translates to ‘new word’. You usually will not find neologisms in dictionaries. This is because their creative power stems from its momentaneous usage. With time a neologism can be added to our dictionaries as its use expands. See p. 48

2 Listen to how the poem ’The Jabberwocky’ is read. Afterwards, scan it and answer the following questions.

listening reading

a How do you know this is a poem?

Unit 2: Supercalifragilisticexpialidocious!

forty-three

b What do you already know about its writer, Lewis Carroll? c Examine the title. What could the poem be about?

The Jabberwocky – Lewis Carroll Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.

Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!”

He took his vorpal sword in hand; Long time the manxome foe he sought— So rested he by the Tumtum tree And stood awhile in thought.

And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came!

One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back.

And hast thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!” He chortled in his joy.

Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe.

Source: Poetry Foundation forty-four

Unit 2: Supercalifragilisticexpialidocious!

3 Read the poem again and answer these questions.

reading

a What genre does the beginning of the poem mimic? b What happens in the poem?

c Summarise the poem by completing the plot structure below.

d Check the plot structure with an animated video.

WATCHING

e Do you agree with the following statement? Why (not)? Give at least 3 arguments.

‘The Jabberwocky’ can be read as a Bildungsstory, in which a boy reaches adulthood.

4 How is sound used in the poem?

forty-five

a What sounds are ‘audible’ in the poem? Highlight them.

Unit 2: Supercalifragilisticexpialidocious!

b Describe each sound. What could be meant by these sounds? Sound

Word

c Why is it possible to understand a sound, even though we don’t understand the word?

LANGUAGE & CULTURE

Onomatopoeia

Sometimes neologisms take the form of an onomatopoeia. This happens when a word mimics the sound of a human being, an animal or an object. When we, for example, mimic a dog, we often say ‘woof woof’. That is an example of onomatopoeia. Fun fact: each culture has its own onomatopoeias. In Japanese the dog does not go ‘woof woof’, but ‘wan-wan’! . See p. 48

5 Let’s create and use a neologism. Follow the steps.

writing

a Preparation: think of a feeling or a sound, which does not yet have a word. Think creatively! Here are some examples: Imagine you miss your bus. That’s frustrating, right? We could describe this using the

word ‘Bustration’, which combines the words ‘

’ and ‘

’.

When we go shopping, the wheels of the shopping trolley may not roll smoothly. What should we call that wheel? A ‘Wonky-Wheel’, maybe? This combines the words ‘

’ and ‘

’.

The examples above are blended words or portmanteau words, where we mix 2 words to make a new one.

forty-six

Unit 2: Supercalifragilisticexpialidocious!

b Action: – When thinking of a feeling or thing, describe it by using 2 words. This could be 2 adjectives, 2 nouns, or 1 of each. Play with both words to come up with a blend. – Once you have your neologism, use it in a haiku. – Match the content of the haiku with your neologism, so that it fits its context, like in Lewis’ ‘The Jabberwocky’. – Finally read your haiku out loud.

Did you know?

A haiku is a poem consisting of 3 lines. The first and third line have 5 syllables. The second line has 7 syllables.

c Reflection: check your task by filling in the checklist. Ask your teacher for feedback. Checklist: my neologism in a haiku

Yes

I think so

1 Content • The neologism creatively describes a feeling or a thing. • The poem’s context matches with the neologism’s meaning. • The haiku form is used correctly (5 – 7 – 5).

forty-seven

Feedback

2 Language • I used correct grammar in the haiku. • I used correct spelling.

Unit 2: Supercalifragilisticexpialidocious!

1 Morphology Morphology is a branch of linguistics that studies how we shape words. Understanding this process allows us to understand how we as human beings communicate and attempt to make sense of the world around us. As the world continuously changes, we are tasked to keep inventing new words for new stuff.

LANGUAGE & CULTURE

SUMMARY

The following is some relevant ground terminology. 1/ Root word

At the base of every construction is a root word. This word has a lexical meaning.

e.g. ‘Love’ is a root word, which has plenty of meaning on its own: ‘There is love in the air!’ 2/ Affix

− We can modify a root word by adding an affix. This can add lexical meaning, but it can also change the word type of the root.

e.g. to ‘love’ we can add the suffix -ly, making it an adjective, and changing the meaning slightly to ‘being quite kind or beautiful’: ‘What a lovely painting you have made!’ Keep in mind: not every -ly-suffix means it is an adverb!

− Alternatively, we can add an affix to the front of the word. We do not call that affix a suffix, but a prefix. e.g. We can add an a- to the word ‘typical’, which results in the word ‘atypical’. In this case we have constructed an antonym for ‘typical’. • ‘Esra paid the bill before I could even ask the waiter? How typical of her!’ • ‘Tom usually picks up when I call him, but on Sunday he forgot. How atypical!’

− Affixes also have morphological meaning. This means that certain affixes are used to add nuance to a word. It also means that an affix can be applied to multiple root words.

e.g. In the word ‘industrialisation’, we see the root word ‘industry’ to which the suffix –(is)ation has been added. This implies that we are talking about a process. We can also add that suffix to ‘simple’, for example. • In Victorian England industrialisation gripped society between 1850 and 1900. • The author rewrote his books for a larger audience. This meant a huge simplification.

2 Neologisms These procedures are also tools to create new words or neologisms. A neologism, which literally translates to ‘new word’, is an invented word which is not yet shared by a large part of speakers. Largely speaking, when a neologism is added to the dictionary, it stops being ‘new’.

forty-eight

Neologisms are a common tool in the toolbox of the poet, who seeks to create ways to expand the use of language and to incorporate new experiences into their art. With Lewis Carroll we have seen how a poet uses these neologisms to create new and exciting sounds in his poetry. When a word attempts to mimic a sound, we call this an onomatopoeia.

Unit 2: Supercalifragilisticexpialidocious!

3 List of commonly used prefixes and suffixes Affix

Meaning

Example word

anti-

against

antifreeze

de-

opposite

defrost

dis-

opposite of / not

disagree

en- / em-

cause to

embrace, encode

in- / im- / il- / ir-

not

inter-

between

mid-

middle

non-

not

re-

again

semi-

half

sub- / under-

under

submarine

trans-

between

transport

not

unfriendly

can be done

transferable

having characteristics of

personal

2 SUFFIXES -able / -ible

-al

injustice, irregular, illogical interact midway

nonsense return

semicircle

un- / a-

1 PREFIXES

made of

wooden

-er

comparative; one who

higher; worker

-est

superlative

highest

-ic

having characteristics of

linguistic

-ion / -tion / -ation / -ition

act or process

attraction, attention

-ly

characteristic of

quickly

-ment

action or process

enjoyment

-ness

state of, condition of

kindness

-ous / -ious / -eous

possessing the qualities of

joyous

forty-nine

-en

Unit 2: Supercalifragilisticexpialidocious!

CHECK OUT ANALYSING WORDS ORIENTATION In this task you are going to think about words used around you, and how they have been built. Select 5 words you find interesting. Explain what intrigues you, and also investigate the words’ formation and etymology. Present your findings in a brief presentation.

PREPARATION

1 Review the terminology covered in this unit.

2 Look around. Search for words you want to talk about. Maybe there is one in your favourite series? Maybe from a (comic) book? Or maybe your favourite song? 3 The words should be derivates. They should consist of more than just a root word.

ACTION

4 Analyse your word: − morphologically: word type, etymology, formation (prefixes or suffixes). − semantically: explain its meaning and usage. In which contexts can you use the word? 5 Explain why you chose the word and where you found it.

6 Use credible sources and list them in a short bibliography using the MLA format. − Apply the CRAAP test to each source. − Use the website scribbr.com to help you adequately format your sources.

7 Put your findings in a brief presentation, consisting of no more than 5 slides. Use relevant terminology and concepts to report your findings to the class. Also cite your sources.

speaking

REFLECTION

8 Check your task by filling in the checklist. Ask your teacher for feedback. Checklist: analysing my favourite word

Yes

I think so

1 Content and structure • I used credible sources and listed them correctly. • I applied relevant terminology correctly. • The presentation mentions all the requirements: word type, etymology, formation, meaning, usage. • I made 5 well balanced slides, not overloaded with text. 2 Language • I used correct grammar. • I used relevant and correct vocabulary. • I used correct spelling and punctuation. • I paid attention to my pronunciation. Feedback

fifty

Unit 2: Supercalifragilisticexpialidocious!

UNIT 3: HOW CAN AI HELP? CHECK IN Step 1:

IN Step 2:

The writing process and learning how to edit

MAIN TRACK

Discussing the rise of AI

SUMMARY

CHECK OUT: WRITING AN ESSAY

CHECK IN HUMAN OR COMPUTER? 1 Read the following paragraphs. Did a human or a computer write the paragraphs? Check the correct box. A shallow magnitude 4.7 earthquake was reported Monday morning five miles from Westwood, California, according to the U.S. Geological Survey. The temblor occurred at 6:25 a.m. Pacific time at a depth of 5.0 miles. Human Computer

Human Computer

Apple’s holiday earnings for 2014 were record shattering. The company earned an $18 billion profit on $74.6 billion in revenue. That profit was more than any company had ever earned in history.

Kitty couldn’t fall asleep for a long time. Her nerves were strained as two tight strings, and even a glass of hot wine, that Vronsky made her drink, did not help her. Lying in bed she kept going over and over that monstrous scene at the meadow.

Benner had a good game at the plate for Hamilton A’s-Forcini. Benner went 2-3, drove in one and scored one run. Benner singled in the third inning and doubled in the fifth inning.

reading

Human Computer

When I in dreams behold thy fairest shade

Whose shade in dreams doth wake the sleeping morn The daytime shadow of my love betray’d

Lends hideous night to dreaming’s faded form.

Human Computer

SPOKEN INTERACTION

2 Discuss the following questions. a How many did you get right? b What made the test easy/difficult for you? c What telltale signs might you find in a computer’s writing? d What might indicate that a human wrote a text?

fifty-two

Unit 3: How can AI help?

MAIN TRACK STEP 1 ⁄ To AI or not to AI

Discussing the rise of AI

1 Scan the following headlines. What are they about?

Computers Are Writing Novels

The First News Report on the L.A. Earthquake Was Written by a Robot

reading

Why Write Your Own Book When An Algorithm Can Do It For You?

We Heard From The Robot, And It Wrote A Better Story About That Perfect Game

2 Write down what you think about these developments. Give at least 2 arguments for your opinion. Pay attention to your spelling and punctuation.

writing

3 Let’s play a game of truth or fiction, but this time, you are doing the writing. Or at least, parts of it.

writing

a Go to diddit, click on the link of the website and create an account.

b Create a prompt for ChatGPT. Base your prompt on one of the following situations. − You are an aspiring crime novelist, and you want to find a good start for your awesome upcoming book. What could you ask ChatGPT to write for you? − You are a journalist and want to write a column piece on a recent hot topic. What would you ask ChatGPT to write for you? − You are a student and have to hand in a piece of writing tomorrow on the American Revolution. What could you ask ChatGPT to write for you?

c Add your prompt to ChatGPT and read what ChatGPT has written for you. − Are you satisfied with the story? Change what you would have written differently manually. − Alternatively, ask the AI to write something else or to add more information: experiment!

fifty-three

d Once you are happy with it, copy the result into a document.

Unit 3: How can AI help?

4 What were your experiences throughout this process of writing with AI? Form groups and discuss your findings.

SPOKEN INTERACTION

a Did you come across any difficult words? Look them up first! b First share your experiences with a classmate. c Secondly, share your experiences in a group of 3-4 students. d Finally, share your experiences with the whole class.

writing

5 Summarise the class discussion.

a During the discussion, make notes (e.g. in a mind map) on a separate piece of paper.

b Afterwards, summarise the discussion below in 2 clear paragraphs. Write an overview of the discussion in the first paragraph. Describe how the discussion differs or matches your opinion in the second paragraph.

6 Has the opinion you gave in exercise 2 changed during this exercise?

7 Working with AI isn’t always fun and games, however. Examine the following headline and speculate before watching the video.

Google Fires Engineer Who Claims Its AI Is Conscious

a Why would Google fire an engineer for this claim? fifty-four

b Do you agree with what Google did?

Unit 3: How can AI help?

reading

8 Now watch the news item. Afterwards, answer the questions.

WATCHING

a What new information are we given about the engineer? b The debate revolves around the concept of sentience. What does the concept mean in this context?

c Are these statements true or false? Correct the false statements. Statement 1

True

False

Blake Lemoine is convinced that the chatbot LaMDA can convey the thoughts and feelings equivalent to that of an adolescent.

The bot is programmed to deep learning, which works like pattern recognition. The machine does not do actual thinking, contrary to what Lemoine suggests.

Nitasha Tiku thinks that the terms we use to talk about AI are sufficiently developed, using the concept of sentience as an example.

Lemoine’s beliefs in the sentience of AI stem from his education as a priest and cognitive scientist.

d Explain the following statement made by Nitasha Tiku: ‘Some of the experts are under the thrall of sci-fi.’ SPOKEN INTERACTION fifty-five

e What do you think about this case? Discuss.

Unit 3: How can AI help?

9 In the interview, many specific AI-related words were used. Connect the words to their respective definitions. chatbot

a person or thing that creates something

consent

to introduce something continuously, almost automatically

generator

machine learning algorithms to automatically recognise patterns and regularities in data

deep learning

facts and statistics collected for reference or analysis

feed (in)

a computer programme designed to simulate conversation with human users, especially over the internet

corpus

machine-learning based on artificial neural networks, in which multiple layers of processing are used to extract progressively higher level features from data

data

all the writings or works of a particular kind, or on a particular subject

pattern recognition

permission for something to happen or agreement to do something

10 Return to the website. This time, have a simple chat with AI.

written INTERACTION

a Ask it questions about anything you want to know. Try to ask about its experience, how it might feel, etc. b Afterwards, exchange experiences by discussing the following questions: − How did you experience this chat? − Do you think that the bot was sentient, like Lemoine? − What does this make you think about AI?

11 Your teacher will give you an opinion piece. Read and summarise the piece, using the Cornell method.

a Revise the Cornell method using the Summary from Unit 1 on p. 28. b Read the opinion piece.

c Identify the main talking points in the piece and put them in the left column. d Afterwards, complete the table with relevant information. e Compare your summary with a classmate.

fifty-six

Unit 3: How can AI help?

reading

12 Respond with your own informed opinion about the rise of AI technology.

writing

a Preparation: check your summary and find at least 2 arguments you want to respond to. b Action: give your own opinion (200 words). Make sure to include: − an introduction in which you introduce the topic and what you want to say; − a body consisting of 2 paragraphs in which you discuss your opinion and talk about possible advantages or disadvantages of AI; − a conclusion in which you summarise your opinion briefly. Write a draft and reread it. Write your text on a computer. Stuck? Consider asking ChatGPT for a hand!

Checklist: my opinion piece

c Reflection: check your writing by filling in the checklist. Ask your teacher for feedback. Yes

I think so

1 Content and structure • My opinion is clear. • I wrote an introduction, 2 body paragraphs and a conclusion. • I referred to the text about the rise of AI. • I wrote about 200 words. • I used ChatGPT as a reflection tool.

Feedback

2 Language • I used correct and relevant vocabulary. • I used correct grammar. • I used correct spelling and punctuation.

STEP 2 ⁄ Write and improve

The writing process and learning how to edit

1 You will get a text about AI and writing. Read the title and the introduction, and answer the questions.

reading

a What do we learn about the author in the title and introduction?

b What answers does the author hope to find in his essay?

c What examples or subjects might the author discuss in the essay?

d How would you expect the essay to continue? Discuss.

Unit 3: How can AI help?

SPOKEN INTERACTION

fifty-seven

STRATEGY

The essay

The essay is a genre in which the writer, or speaker (as video essays or film essays also exist), offers an in-depth, thorough but personal perspective on a specific subject. It derives from the French word ‘essayer’, which means ‘to try’. In this manner, we might call the essay an attempt to make sense of something in this world through a subjective lens, answering questions such as ‘What does this mean to me?’ or ‘How do I view this?’. See p. 74

reading

2 Read the first 4 paragraphs of the essay and answer the questions. a What does Kang discuss in the introduction of his essay? b What is the purpose of an introduction?

c What is Kang’s thesis? Copy the thesis statement.

d What is a thesis statement?

3 Compare the following thesis statements. Which one is better? Explain why.

Everyone should exercise!

Americans should add exercise to their daily morning routine because it not only keeps their bodies at a healthy weight, but also reduces the risk of high blood pressure.

fifty-eight

Unit 3: How can AI help?

reading

4 Examine the following thesis statements, and decide whether they need editing. If so, try to improve them.

reading writing

a High levels of alcohol consumption have detrimental effects on your personal health, such as weight gain, heart disease, and liver complications.

b Reading can develop a child’s mind.

All retirees should relocate to Florida.

The internet allows people to easily connect across the globe, allowing new friendships and an exchange of ideas that wouldn’t have occurred prior to its inception.

fifty-nine

Unit 3: How can AI help?

5 Read the rest of the essay, apart from the last 3 paragraphs, and answer the questions.

reading

a What 6 pieces of evidence does the writer include in the body of his essay? 1 2

3 4

5 6

b What is done in the body of an essay?

c Highlight a counterpoint in the text that the writer anticipates. d Why is discussing possible counterpoints a good strategy in an essay?

e Highlight 3 topic sentences in the essay.

What is the purpose of these topic sentences in the text?

sixty

Unit 3: How can AI help?

6 Return to the thesis statements from exercise 4. Write an argument in favour, and a counterargument, for each statement.

Argument in favour

Counterargument

Thesis

writing

SPOKEN INTERACTION

8 Read the last 3 paragraphs of the essay. Answer the following questions.

reading

7 Discuss your arguments from exercise 6 with the class.

a What conclusion does the writer draw?

b What are the main purposes of a conclusion?

c Did Kang succeed in answering his thesis, according to you? Give a detailed response.

Unit 3: How can AI help?

sixty-one

9 Write an essay of 5 paragraphs on one of the thesis statements from exercise 4. Include the following:

writing

a an introduction in which you get your reader’s attention and present your thesis; b a body in which you present 2 arguments and anticipate one counterargument; c a conclusion in which you answer your thesis statement. 10 Get to know Write and Improve and follow the instructions your teacher gives you. a Make a profile on the website of Write and Improve. You will find the link on diddit.

b Join the class the teacher has made for you. c Your teacher will open an online ‘workbook’. Find and go to that workbook. 11 Review your own writing.

writing

a Copy your essay in the appropriate Write and Improve box.

b Have the application automatically check and rate your writing.

c Examine its suggestions. Would you change anything based on its suggestions?

SPOKEN INTERACTION

12 Discuss this AI-guided reflection process.

a What advantages does Write and Improve bring in your opinion? b What disadvantages might it bring?

c Have you ever used an AI help tool when writing?

sixty-two

Unit 3: How can AI help?

SUMMARY

Procedures

Bots

VOCABULARY

HOW TO TALK ABOUT AI

Deep learning

Chatbot

Generator

Write and Improve

Pattern recognition

ChatGPT

Feed in

Google Translate

Machine learning

Deepl

Other

New words I encountered in this unit

Data

Corpus

Consent

Language generation

sixty-three

Unit 3: How can AI help?

STRATEGY

HOW TO write an essay 1 Thesis statement Start from a thesis statement. The thesis refers to the central point that you want to make in your writing. You should always pinpoint your thesis before writing. If you have trouble nailing it down, ask yourself, ‘What is the one thing I want my reader to remember when they are done reading my essay?’.

Checklist thesis statement: − Is my statement specific enough, focusing on 1 area? − Is my statement precise enough, clearly showing my opinion? − Is my statement arguable, showing relevant argumentation I want to use? − Is my statement confident, not using ‘weakening’ modals like ‘It can’ or ‘I feel’?

The thesis statement is always included in the introduction of your essay, as it offers the focal point for your writing. The rest of your essay will support your thesis.

2 Body arguments

After the introduction and the thesis, you will expand your argumentation in the body of the essay. This contains the bulk of the essay, where you defend your thesis statement, but also anticipate possible counterarguments your thesis might encounter.

Make sure your argumentation is objective and not subjective. This will generally make for stronger arguments. Also, developing an argumentation usually takes some research. Remember that numbers and statistics are often strong arguments! In general, each paragraph develops only 1 argument. Which argument you develop is signalled by using a topic sentence, which is the first or the second sentence where the main idea of the paragraph is stated. Your reader can use these topic sentences to more easily summarise the text, for example.

3 Conclusion

At the end of your text, offer a conclusion. Here you formulate an answer to your thesis statement, taking your whole argumentation into account. Nuance is important: also take strong counterarguments to your claim into account. When working on your conclusion, you could ask yourself, ‘What did I discover when writing?’, or ‘What do I want my reader to remember?’.

4 Editing

When you finish a first draft, it is important to check your writing. Obviously, this is the phase where you filter language and spelling errors, but you should also dedicate time to thoroughly check the structure of your paragraphs and your sentences. Check whether your text reads fluently and whether the points you make come across as you intended.

sixty-four

It could help here to have someone else read your work. Their reactions can help you gauge whether a reader understands the text like you have written it. Additionally, online and AI-powered tools such as Write and Improve can help you discover ways to improve your text. It is important to remember that writing is above all a matter of rewriting.

Unit 3: How can AI help?

CHECK OUT WRITING AN ESSAY ORIENTATION

You will write an essay discussing a challenge society faces regarding AI or a possible solution AI might bring to the table for a contemporary problem. You will have to write an essay of about 1 000 words.

PREPARATION

1 Brainstorm! Think of relevant themes related to AI that you want to write about.

2 Do additional research. Find information online or, if necessary, go to a library. This will help you come up with relevant arguments. − When selecting a source, be sure to apply the CRAAP test.

ACTION

− Cite your sources. For this, you can use the website linked on diddit.

3 Write your essay in 4 rounds.

writing

ROUND 2: REASON & EXPLANATION

− Write a draft of the body of your essay, consisting of 2 – 3 paragraphs.

ROUND 1: OPINION

− Write a draft of your first paragraph, including your thesis statement. − Use a thesaurus to vary your vocabulary when writing.

− Have classmates read your first paragraph and get feedback.

− Each paragraph should discuss 1 argument connected to your thesis statement. − Provide examples where possible. − Have classmates read the body of your text and get feedback.

ROUND 4: FINAL REVISION

− Write a draft of the conclusion, in which you summarise and answer your thesis statement.

− Run your draft through the app Write and Improve or ChatGPT. Incorporate the tips the app gives.

− You could also think about adding a change you want to see following your text.

− Write a neat version of your essay where you include your references on a separate page.

− Give the conclusion to your classmates and get feedback.

− Submit your essay.

sixty-five

ROUND 3: OPINION

Unit 3: How can AI help?

REFLECTION 4 Check your writing by filling in the checklist. Ask your teacher for feedback. Checklist: writing an essay

Yes

I think so

1 Content • I coherently discussed AI technology. • My opinion is discernible in the essay. • I used a good thesis statement. • My writing is nuanced, including more than 1 source on the subject. 2 Structure • My essay follows the correct structure. • My text is about 1 000 words long. • There is a good introduction, body and conclusion. • My text is divided into paragraphs, using linking words to indicate the structure.

Feedback

3 Language • I used relevant and correct vocabulary. • I used correct grammar. • I used correct spelling and punctuation.

sixty-six

Unit 3: How can AI help?

UNIT 4: TO BAN OR NOT TO BAN CHECK IN Step 1:

IN Step 2:

Analysing controversy in Shakespeare

MAIN TRACK

Discussing the banning of books

SUMMARY

CHECK OUT: DEBATING A SHAKESPEARE BAN

CHECK IN KNOW YOUR CLASSICS SPOKEN INTERACTION

1 Discuss the following questions. a What makes a novel a ‘classic’? b Is a ‘classic’ novel by definition an ‘old’ novel? c Which classic(s) have you read and would you recommend?

Did you know?

d Which classic(s) would you like to read? Why?

Classic vs classical? • Classic = typical for its class e.g. Bringing flowers to your mother’s is such a classic thing to do on Mother’s Day. • Classical = traditional, present for a long time e.g. My grandparents had a classical education.

2 Play ‘find someone who’.

a Walk around the room with the card you will get from your teacher. Ask each other questions to complete it. If you have Bingo (5 horizontal, vertical or diagonal), shout ‘Bingo’!

b Report to the class who has read/seen what, and who has a lot of information about ‘the classics’.

sixty-eight

Unit 4: To ban or not to ban

SPOKEN INTERACTION

MAIN TRACK STEP 1 ⁄ A classic thing

Discussing the banning of books

1 Read the information below and discuss these questions.

reading

a Which works would be in the literary canon of your native language?

SPOKEN INTERACTION

b Do you think the literary canon is something every language or country should have? Why (not)? c Is the literary canon something that should still exist? Why (not)?

d What do you think the criteria should be for a literary work to be added to the canon? The literary canon

LANGUAGE & CULTURE

The literary canon is about the classification of literature, referring to a group of literary works that are considered to be the most important of a particular period or place. It is generally composed by influential literary scholars, critics, teachers, etc.

Although this classification is somewhat subjective, literary works that have gained a spot in this canon have automatically gained validity and authority and generally become more respected. Schools often base their list for literature classes on this list.

Throughout the 20th century and into the 21st century, people have started to question the representativeness of the canon, given the fact that for a long time those scholars, critics and teachers had been white men who selected works from white, male authors. More recently, the English canon has become more diverse, including, for example, works from authors such as Toni Morrison. Other debates on the canon question the suitedness of certain literary works in the classroom.

Adapted from: languagehumanities.org and tckpublishing.com

reading

2 Read the introduction about Toni Morrison. Have you ever read any of her works? If so, which one(s)?

TONI MORRISON

Adapted from: Wikipedia

sixty-nine

Toni Morrison (1931-2019) was an American novelist who wrote about the harsh consequences of racism in the United States and the Black American experience. Her work was awarded multiple times. In 1993, she won the Nobel Prize in Literature. Despite of all the praise, her work is regularly under attack in schools as parents believe the language and scenes in her novels are inappropriate for teenagers.

Unit 4: To ban or not to ban

3 Scan the text about Toni Morrison and answer the questions.

reading

a Read the title and explain in your own words what you expect to read in the text. b Check the source of the text. Is it trustworthy?

c What is the aim of this article?

BY OLIVIA B. WAXMAN

In Florida’s Polk County, Nobel Literature Prize-winner Toni Morrison’s novels The Bluest Eye and Morrison’s Beloved were among 16 books “quarantined”—taken off shelves in public school libraries “so a thorough, thoughtful review of their content can take place,” a spokesperson explained to The Ledger—on Jan. 25 after a complaint. Less than a week earlier, a school board in Wentzville, Missouri had voted 4-3 to remove The Bluest Eye from the district’s high school libraries at a board meeting on Jan. 20. The decisions are just two examples of a wave of book bans and challenges to school libraries’ content currently occurring across the U.S. “By all means, go buy the book for your child,” Sandy Garber, a director of the Wentzville school board, said at the meeting, according to the St. Louis Post-Dispatch. “I would not want this book in the school for anyone else to see.” (Garber did not immediately respond to a request for comment from TIME.)

Why Toni Morrison’s Books Are So Often the Target of Book Bans

The board members overruled recommendations by a committee of educators who reviewed the novel after a parent objected to depictions of pedophilia, incest, and rape. That committee had voted 8-1 to retain the book in district libraries. “This novel helps the reader step into and understand 1941 (pre WWII, pre civil rights movement), small town Black culture in a way no textbook can do,” the committee wrote in a report. “Removing the work would infringe on the rights of parents and students to decide for themselves if they want to read this work of literature.”

Morrison’s works are a regular fixture on the American Library Association (ALA)’s annual list of the top 10 most challenged books. The Bluest Eye has appeared several times, in 2006, 2013, 2014, and 2020. Beloved, Morrison’s Pulitzer Prize-winning 1987 novel, is also on the 2006 and 2012 lists. And in the mid-1990s, Song of Solomon was repeatedly challenged in school districts in Colorado, Florida, and Georgia for “inappropriate” and “explicit” material.

seventy

Unit 4: To ban or not to ban

Dana A. Williams, President of the Toni Morrison Society and dean of Howard University’s graduate school, adds that efforts to ban Morrison’s books are not only about their text, but also about Morrison herself, the first Black American woman to win the Nobel Prize in Literature in 1993. “[Following] any advance by Black people, you will see some stirrings around banning a Toni Morrison book,” says Williams. “After the Black Lives Matter movement, after the 1619 Project, after the election of Barack Obama, any major moment in history where you see progress of people of color—Black people in particular—backlash will follow … Morrison books tend to be targeted because she is unrelenting in her belief that the very particular experiences of Black people are incredibly universal. Blackness is the center of the universe for her and for her readers, or for her imagined reader. And that is inappropriate or inadequate or unreasonable or unimaginable for some people.”

In Oct. 2021, a Virginia mom who tried to get Beloved banned from her son’s high school in 2013 was featured in an ad for then-gubernatorial candidate Glenn Youngkin, who made education a core part of his platform. He won the governorship the next month. (In 2016 and 2017, then-Gov. Terry McAuliffe—Youngkin’s opponent in the 2021 election—had vetoed so-called “Beloved bills,” efforts to enable parents to opt their children out from reading sexually-explicit novels at schools.) Since the start of the 2021-2022 school year, the ALA says it’s seen an “unprecedented volume of challenges” aimed at books by, and about, people of color, and books that tackle topics like racism and sexual or gender identities. The moral panic is largely fueled by conservative advocacy groups spreading misinformation that critical race theory is being taught in K-12 schools. That is not the case. Scholars say one of the reasons Morrison’s books in particular are controversial is because they address, unabashedly, nearly all of the above, centering on dark moments in American history that can be uncomfortable for some people to talk about. Beloved, for example, is inspired by the true story of an enslaved woman, Margaret Garner, who killed her daughter in 1856 to spare her from slavery. “What she tried to do is convey the trauma of the legacy of slavery to her readers. That is a violent legacy,” says Emily Knox, author of Book Banning in 21st-Century America, of Morrison’s body of work. “Her books do not sugarcoat or use euphemisms. And that is actually what people have trouble with.” A 2016 TIME analysis of college syllabi found that, at the time, Morrison was the thirdmost assigned female author in college classes.

Source: TIME

Unit 4: To ban or not to ban

seventy-one

Morrison herself often spoke out against censorship, both of her work and more broadly. At a 1982 event, “An Evening of Forbidden Books,” she argued that such behavior constitutes “political control of a certain art form,” and that “there is some hysteria associated with the idea of reading that is all out of proportion to what is in fact happening when one reads.” And in the 2019 documentary The Pieces I Am, she talks about having a framed letter from the Texas prison system saying her book Paradise was removed because it could incite a riot, and thinking, “How powerful is that! I could tear up the whole place.” Her comments in the introduction of Burn This Book, a 2009 anthology of essays she edited on censorship issues, are especially appropriate for today. That same year a school district in Michigan had removed and then reinstated Song of Solomon from an AP English class. “Efforts to censor, starve, regulate and annihilate us are clear signs that something important has taken place,” she wrote. “The thought that leads me to contemplate with dread the erasure of other voices, of unwritten novels, poems whispered or swallowed for fear of being overheard by the wrong people, outlawed languages flourishing underground, essayists questions challenging authority never being posed, unstaged plays, canceled films—that gubernatorial candidate: someone thought is a nightmare. As though a whole universe is running for the position of governor being described in invisible ink.” K-12: short for kindergarten (age 5/6) to 12th grade (age 17/18)

4 Before delving into the text itself, focus on some of the vocabulary used. Which word is meant? Choose from the underlined words in the text. to actively break the terms of (a law, an agreement)

to show, make an idea, feeling … known and understandable

without embarrassment or shame

to reject or disallow by using one’s superior authority

ideas stating that racial bias is inherent in many parts of western society (legal and social institutions) as they have primarily been designed for and implemented by white people

guiding document that includes all rules, expectations (e.g. which books to read) … for a course (at college)

to encourage, stir up

a strong negative reaction by a large number of people

to think of

never done or known before

the suppression or prohibition of (parts of) books, films … that are considered to be obscene, politically unacceptable or a threat to security

not suitable or proper in a certain situation

to restore someone or something to their former position or state

to make something superficially attractive or acceptable

not giving in on determination, severity, strength in spite of pressure

5 Read the text in detail. Are these statements true or false or not mentioned in the text (NIT)? Motivate your answer. True

Statement

False

NIT

Book bans only occurred in Missouri, Colorado and Florida.

Sandy Garber is not happy with the decision to ban Morrison’s books and encourages parents to buy it for their children.

seventy-two

Unit 4: To ban or not to ban

reading

Statement 3

True

False

NIT

The explanation for the sudden rise in the amount of challenged books is attributed to certain conservative advocacy groups. It’s the appearance of a mother who had tried to get Beloved banned in her children’s school in one of Glenn Youngkin’s campaign ads that won him the election 1 month later.

6 The text mentions different people who contributed to the debate on the banning of Morrison’s books. Complete the table with the appropriate names and the reasons why they insist on banning them from, or retaining them in school libraries.

Arguments

Supporters

Retaining the books

Banning the books

reading

Unit 4: To ban or not to ban

seventy-three

7 What is the opinion of the author in this matter? How can you tell?

reading

8 Would you be allowed to read Morrison’s novels by your parents? At school? Why (not)?

SPOKEN INTERACTION

9 Go online and look up the most recent list of the 50 most banned books in America. Answer the following questions and discuss with a partner afterwards.

reading

a What do these books have in common?

SPOKEN INTERACTION

b Have you read any of these books? If so, which ones? Do you think they should be banned from schools?

c Is there a book that intrigues you after having read about it? Explain.

10 Watch The Washington Post’s video on the rise of American book bans and answer the following questions. a What is the difference between a challenged book and a banned book?

b What is senator Ted Cruz’s issue with the picture book Antiracist Baby? How does the author respond to his reaction?

c Why is Harper Lee’s To Kill a Mockingbird mentioned in the video?

seventy-four

Unit 4: To ban or not to ban

WATCHING

d How does this new wave of book bans differ from the practice before? e Why is Shakespeare mentioned in this video?

What are the dangers of censoring books with diverse characters?

11 Choose a book from the ‘Banned Books List’ and discuss the following questions.

reading

a Analyse the cover, title and blurb. Can you find any elements that may explain why it is on the Banned Books List? Which ones?

b Read the first chapter of the book and complete the table in relation to what you have read. Narrator/ point of view

Theme Tone

Mood

Setting

Plot events (name 2 or 3)

seventy-five

Unit 4: To ban or not to ban

c Which characters are introduced? Which character appeals to you the most? Why? d Discuss the writing style of the author. What do you notice?

e Are there (valid) reasons for banning this book in your opinion? Which ones? f

Go online and look up what the main arguments are for banning this book. Can you find parts that may support them? Do you think these arguments are valid?

12 Watch the clip on new state education reform laws (2023) in Florida. Use the information given throughout the clip to come up with more arguments in the debate on book bans. Arguments supporting book bans

Arguments against book bans

seventy-six

Unit 4: To ban or not to ban

WATCHING

13 Over to you. ‘Banned Books Week’ is asking teenagers to promote a ‘banned book’ for schools. Prepare an elevator pitch for one of the books on the banned book list.

speaking

STRATEGY

An elevator pitch

An elevator pitch is a brief way of introducing yourself or getting across a few key ideas. It is called an elevator pitch because it takes roughly the amount of time you would spend riding an elevator with someone. The focus is on convincing the listener about an idea within 30 seconds.

See p. 88

a Preparation: go through the Banned Books List and choose a novel you want to promote. Reread the arguments in relation to book bans in the previous exercises. Read the information on giving an elevator pitch (Strategy p. 88). Prepare your pitch on paper.

reading writing

b Action: give your elevator pitch about a ‘banned book’. Make sure to pay attention to the following: − Grab the audience’s attention. − Clearly explain which book you have chosen and what it is about. − Give convincing arguments why this book should be read by teenagers in school. − End with a convincing, summarising statement and call to action. c Reflection: check your pitch by filling in the checklist. Ask your teacher for feedback. Checklist: elevator pitch

Yes

I think so

1 Content and structure • I grabbed the audience’s attention. • I clearly explained which book I chose and what it is about. • I included convincing arguments why this book should be read by teenagers in school. • I ended with a convincing, summarising statement and call to action. • I knew my pitch by heart. • My pitch was brief (30-45 seconds).

2 Language • I used correct vocabulary. • I used correct grammar. • I paid attention to my pronunciation. • I pitched in a fluent and clear way.

seventy-seven

Feedback

Unit 4: To ban or not to ban

STEP 2 ⁄ Classic controversies Analysing a classic

1 Read the following quotes from Shakespeare’s plays. What do they have in common?

reading

CYMBELINE ACT 2, SCENE 5

HAMLET ACT 1, SCENE 2

Posthumus: Could I find out The woman’s part in me—for there’s no motion That tends to vice in man, but I affirm It is the woman’s part; be it lying, note it, The woman’s; flattering, hers; deceiving, hers; Lust and rank thoughts, hers, hers; revenges, hers; Ambitions, covetings, change of prides, disdain, Nice longing, slanders, mutability, All faults that name, nay, that hell knows, Why, hers, in part or all; but rather, all; For even to vice They are not constant, but are changing still …

Hamlet: Heaven and earth, Must I remember? Why, she would hang on him As if increase of appetite had grown By what it fed on, and yet, within a month— Let me not think on’t—Frailty, thy name is woman!—

THE MERCHANT OF VENICE ACT 1, SCENE 2

HAMLET ACT 3, SCENE 1

Hamlet: If thou dost marry, I’ll give thee this plague for thy dowry. Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny. Get thee to a nunnery, go. Farewell. Or, if thou wilt needs marry, marry a fool, for wise men know well enough what monsters you make of them. To a nunnery, go, and quickly too. Farewell.

Portia: If I could bid the fifth welcome with so good a heart as I can bid the other four farewell, I should be glad of his approach. If he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me.

OTHELLO ACT 3, SCENE 3, 263-265

Othello: Haply, for I am black, And have not those soft parts of conversation that chamberers have’.

OTHELLO ACT 1, SCENE 2

Brabantio: For if such actions may have passage free bond-slaves and pagans shall our statesmen be.

2 Read the text about Shakespeare’s explicit content and answer the following questions. a What is the aim of this text?

seventy-eight

Unit 4: To ban or not to ban

reading

b Does the author discuss the facts in a neutral way? c Which nickname is given to Florida? d Are the following statements true or false? Prove your answer with information from the text. Statement Only novels and short stories have to deal with book bans in schools. 2

False

True

The author acknowledges that there’s racism in many of those challenged books.

According to the author, book bans often have the opposite effect.

The author suggests that the parents and politicians objecting to books are white.

The author believes that people object to books for different reasons than parental concern.

The author believes the works of Shakespeare are no longer suitable for secondary school pupils.

Unit 4: To ban or not to ban

seventy-nine

e Why does the author use Shakespeare as an example to prove the hypocrisy of the book bans? f

Give 3 indications that show that the controversial content in Shakespeare’s plays is wellknown.

Forget Bruno. We Need to Talk About Shakespeare. The manufactured educational culture wars were in full swing this week as Florida banned 54 math books citing, among other reasons, the inclusion of critical race theory and social-emotional learning … in math.

And this morning, Susan Meyers and Marla Frazee discovered their celebrated 2001 picture book, “Everywhere Babies”, a whimsical, lyrical ode to infancy, made the banned book list in the Sunshine State as well. Apparently, illustrations that depict two men or two women side-by-side are a bridge too far—especially when the book in question has been included among those on LGBTQ+ children’s book sites. Did you feel my eyes roll?

BY LISA HOLLENBACH

The increasingly wild world of education politics seems to have sunk to new depths over the past several years, with mounting educational gag orders, the perceived teaching of critical race theory, uproarious school board meetings, countless teachers and administrators fired and, of course, book bans. Book bans are nothing new, and they’re never quite as successful as some would hope. For example, after Senator Ted Cruz recently put on quite a show questioning Judge Ketanji Brown Jackson, sales of Ibram X. Kendi’s “Antiracist Baby” skyrocketed. Nevertheless, conservative parents and politicians alike have been worked up into a frenzy worrying that their school texts and library books may expose them to ageinappropriate content, objectionable language, nudity, pornography, violence, and—you guessed it—racism (read: telling the truth about America’s complicated history). All of this is predicated on an “unexamined presumed fragility of white children.” If we assume, for the moment, that these concerns are genuine, we have a big problem. Forget Bruno—we really need to talk about William Shakespeare! The collected works of William Shakespeare are a well-known part of the canon of western literature and have been a fixture in American classrooms, in some form, since the 1870s. Today, roughly 90% of American schools teach Shakespeare. In fact, Shakespeare is the only author specifically required by the Common Core English Language Arts Standards, mentioned directly throughout the 9th-12th grade standards. And while high school is generally the norm for introducing kids to the Bard, I’ve personally observed students fluently engaging with “A Midsummer Night’s Dream” as early as fifth grade.

eighty

Unit 4: To ban or not to ban

You Should Have Been Embarrassed to Read Shakespeare Aloud in English Class

To be clear, I’m NOT advocating for a Shakespeare ban. That would be utterly ridiculous— just as ridiculous as banning Toni Morrison’s “Beloved”, Art Spiegelman’s “Maus,” Nikole Hannah-Jones’ The 1619 Project, J.K. Rowling’s Harry Potter, Anne Frank’s “The Diary of a Young Girl,” Juno Dawson’s “This Book is Gay”, PBS content like Sesame Street, children’s books about Ruby Bridges, Rosa Parks and Martin Luther King, Jr., or random words and other forbidden ideas conservative adults find uncomfortable. And the list goes on and on. Let’s be real—the hypocrisy is stunning. Unless you’re willing to #BanTheBard too, all this talk about protecting the children is disingenuous at best. You’re telling on yourself and we see you.

Similarly, the Filthy Shakespeare Company has a Facebook page and a YouTube channel dedicated to liberating Shakespeare and “taking Shakespeare back to his filthy roots. At home amongst the prostitutes, bear fighting and filthy nights out in the wrong end of town.” Oh, and when Shakespeare wrote about love, he wrote about ALL love. That includes LGBTQ+ love. And lest we forget about the adultery, the incest, the rape, the murder, and the witches! Oh my! Yet, I haven’t heard a single conservative utter a word of caution about William Shakespeare. I wonder … why?

The thing is … Shakespeare’s works are brimming with filth, violence and sexual innuendos you should have been embarrassed to read aloud in English class! Don’t believe me? You may want to check out Pauline Kiernan’s “Filthy Shakespeare: Shakespeare’s Most Outrageous Sexual Puns,” which offers more than 70 examples of the Bard at his bawdiest, arranged under 23 sexual categories where “Each filthy Shakespearean passage is translated into modern English and the hidden sexual meanings of the words explained in a glossary.” In fact, Shakespeare’s works include at least 400 references to female and male genitalia alone!

Source: Ed Post

3 Go through the text again and focus on the writing style. Find at least 4 ways in which the author tries to convince her audience.

reading

Unit 4: To ban or not to ban

eighty-one

4 Complete the following sentences with an expression from the text. Choose from the box. adultery – to advocate – age-inappropriate – bawdiest – a bridge too far – to brim with – disingenuous – to expose – lest – objectionable – outrageous – predicated – to sink to new depths – utter a word of caution – utterly ridiculous – worked up in a frenzy a You should not give a 2-year-old a plastic gun to play with. That is really .

b I don’t mind being in the same room with Denny. But expecting me to go and talk to him really

c I knew John wasn’t the nicest guy. But after I saw him do this horrible thing to Aisha, he really .

d I’m afraid that if my sister doesn’t calm down, she will get she’ll be raging all evening. e John is a fan of

and

humour. He only seems to know jokes that are

indecent and make people around him uncomfortable. How was I supposed to know that the floor was slippery? I did not hear anyone

g She tried hard not to cry, but we saw that her eyes

tears.

h I cannot believe my mother made me wear this. I look i

It’s never too soon

This programme contains scenes that some viewers may find

your children to classical music.

k Most daytime soap operas are l

on family connections.

I cannot believe you would actually agree to this. This is

m Natasha asked him in a whisper, afraid to move

she wake

her baby.

n She was seen with a male friend in a bar and was accused of

o These people are lying, or at best being p They shouldn’t

. .

these conspiracy theories.

eighty-two

Unit 4: To ban or not to ban

5 You will get the opening scene of Shakespeare’s Othello, the Moor of Venice. Read it and then answer the questions.

reading

OTHELLO (WILLIAM SHAKESPEARE)

The Tragedy of Othello, the Moor of Venice (1603) is a play by William Shakespeare, which tells the story of Othello, a Moorish general in the Venetian army, who recently married the wealthy Venetian lady, Desdemona, against her father’s wishes. Iago, who serves Othello in the army, tricks him into believing his young wife, Desdemona, is cheating on him. In a fit of blind passion Othello ends up killing her. Source: Wikipedia

a Which characters are introduced in the beginning of the play? Write the correct name next to each description.

a lower-ranked officer in Othello’s regiment

a gentleman from Venice who has been courting Brabantio’s daughter the father of a girl

b Throughout this scene, 3 other important characters are mentioned. Who are they and how are they referred to? −

− −

c Each character in this scene has his reasons for hating Othello. Which are they? –

–

d Which other expressions are used to refer to the main character of the play?

Unit 4: To ban or not to ban

eighty-three

e Find 2 expressions Iago uses to refer to sexual intercourse. Why does Iago use them? Read line 158-181, when Brabantio discovers his daughter indeed has gone. How does he try to explain what happened?

g Do you think this scene from Shakespeare could be used by Lisa Hollenbach to prove her point?

6 Some of the language Shakespeare used has disappeared or changed in meaning. At the same time, he came up with new words or expressions that enriched the English language and that are still in use today. Complete the table with the appropriate words from the play. No longer in use

Changed meaning

bound (line 35-39)

expression of anger/surprise (by God’s wounds) (line 83-88)

circumlocution, using more words than necessary (line 11-16)

‘New’ or derived words/expressions

certainly (line 11-16)

one who spins (line 18-25) personal (line 58-64)

mocking term, hinting at ‘his worship’ (line 30-34)

to make feelings and emotions obvious, not hide them (line 58-66)

eighty-four

Unit 4: To ban or not to ban

7 Over to you. You are part of the Filthy Shakespeare Company, a theatre company that is opposed to the censorship in most performances of Shakespeare’s works. They combine academic research with theatre skills to reveal the original intent of Shakespeare. Help them find passages that they can discuss on their YouTube channel by analysing a scene yourself.

reading writing

a Preparation: − Read the scene from Shakespeare provided by your teacher. − Look up a summary of the play and get acquainted with the plot. − Reread Hollenbach’s arguments on Shakespeare’s controversial content. − Highlight passages which support Hollenbach’s claim and make notes.

b Action: write out an analysis of the scene, in full sentences, in which you: − locate the scene in the story. − briefly discuss the characters in this scene and their importance in the story. − discuss how this scene might offer controversial content, adding (and explaining) all examples you have found. − add a short conclusion in which you decide whether or not this scene can be considered to be controversial. c Reflection: check your writing by filling in the checklist. Ask your teacher for feedback. Checklist: literary analysis

Yes

I think so

1 Content and structure • I divided my text in paragraphs. • I located the scene in the story. • I briefly discussed the importance of the characters in this scene. • I discussed whether the content of this scene is controversial. • I added and explained examples from the original text. • I ended my text with a short conclusion. 2 Language • I used appropriate vocabulary. • I used correct grammar and sentence structure. • I used correct spelling and punctuation.

eighty-five

Feedback

Unit 4: To ban or not to ban

Word

Translation

My notes

1 LITERARY ANALYSIS AND CRITICISM pleiten

a backlash

een tegenwerking

classic

klassiek, typisch, eigen aan

classical

klassiek, traditioneel

a college syllabus

een leeslijst

to incite

aanmoedigen, aanzetten tot

a literary canon

een literaire canon

outrageous

schandelijk, buitensporig

to overrule

verwerpen

to reinstate

in ere herstellen

to utter a word of caution

tot voorzichtigheid manen

utterly ridiculous

uitermate belachelijk

to advocate

VOCABULARY

SUMMARY

to work oneself up in a frenzy

zichzelf extreem nerveus maken

2 CONTROVERSIAL CONTENT adultery

niet aangepast aan de leeftijd

age-inappropriate

overspel

ongepast

to be predicated on

gebaseerd zijn op, terugvallen op

a bridge too far

een brug te ver

to brim with

vol zijn met

censorship

censuur

to contemplate

overpeinzen, contempleren

to convey

weergeven

critical race theory

kritische rassentheorie

disingenuous

niet oprecht, geveinsd

to expose

blootstellen

inappropriate

ongepast

to infringe

schenden

objectionable

afkeurenswaardig

to sugarcoat

verbloemen

unabashed(ly)

ongegeneerd, zonder schroom

bawdy

eighty-six

Unit 4: To ban or not to ban

Translation

My notes

unprecedented

ongezien

unrelenting

onvermurwbaar

to sink to new depths

tot een dieptepunt zinken/ een dieptepunt bereiken

eighty-seven

Word

Unit 4: To ban or not to ban

Before pitching – –

– –

Goal and audience: • Why are you pitching (= goal)? • Who are you pitching to (= target audience)? Structure what you want to say: • Introduce yourself: who are you and what do you offer? • Summarise what you do, and what is in it for the listener (benefits). • Explain what you want or give an example to conclude. • Include a call to action. Study your pitch by heart and practise it. Prepare extra materials to continue the conversation after your pitch.

STRATEGY

HOW TO give an elevator pitch

− −

Deliver your speech in a fluent and clear way. Adjust and vary volume and intonation for emphasis and to keep the audience interested. Make eye contact. Show confidence in your posture. Use hand gestures to add strength to what you are saying.

− − −

2 While pitching

After pitching

−

Follow up. • Be ready for a further conversation when people are interested. • Provide your audience with ways they can contact you. Evaluate your performance. • What went well? • What could be better next time?

eighty-eight

Unit 4: To ban or not to ban

CHECK OUT DEBATING THE BAN OF SHAKESPEARE ORIENTATION

Join the debate on whether or not Shakespeare should be banned in classrooms. You are going to explore the arguments most commonly used in this discussion, after which you will work in group to defend one side of this debate.

PREPARATION

1 Form groups and decide which half will support and which half will oppose the use of Shakespeare in classrooms.

2 Do research on which arguments are commonly used to support and defend this topic.

reading

ACTION

3 Read the other scenes from Shakespeare the teacher will give you and highlight passages that may support your arguments.

4 Organise the arguments you have found that support your side of the debate and add some arguments of your own.

reading speaking

5 Link passages from Shakespeare’s text to your arguments.

6 Read the arguments the other side might use, and come up with ways to counter them. 7 Discuss your findings in group, adapt your notes where necessary and divide the (counter) arguments among the speakers. 8 Face your opponents and have a debate on whether Shakespeare should be banned from classrooms.

REFLECTION

9 Check your debate by filling in the checklist. Ask your teacher for feedback.

Checklist: debating the ban of Shakespeare

Yes

I think so

eighty-nine

1 Content and structure • I used relevant terminology correctly. • My contribution to the debate showed the research I did on the discussion of Shakespeare in classrooms. • I used information from this unit to argue my claims on the use of Shakespeare in classrooms. • I carefully followed the guidelines on conducting a debate. • I was able to explain and illustrate my arguments elaborately.

Unit 4: To ban or not to ban

Checklist: debating the ban of Shakespeare

Yes

I think so

2 Language • I used correct grammar during the debate. • I used relevant and varied vocabulary during the debate. • I used relevant phrases and expressions to persuade the opponents.

Feedback

3 Fluency • I was able to express myself fluently without using a fully written out preparation. • I was able to respond spontaneously to arguments used by the opposing team. • I paid attention to my pronunciation and intonation.

ninety

Unit 4: To ban or not to ban