SEGUIDORES

jueves, 14 de diciembre de 2023

Talking about your lifestyle

Here are some expressions for talking positively about your lifestyle.


- What a good life I have!

- I have everything I ever wanted.

- I'm active, and I have no real money worries.

- I have a certain amount of stress, but I'm healthy.


Here are some expressions for talking negatively about your lifestyle.


- I've realized there's something missing in my life.

- I thought I had everything I ever wanted.

- I live from paycheck to paycheck.

- I'm wondering if my decision was a mistake.



Here are some expressions to support someone who is worried about their lifestyle.


- It's normal to stop sometimes and think about your life.

- Are you thinking about making a change?

- It's never too late.


Sentence variety.

To make reading more interesting, writers vary the length and types of their sentences. Notice the dramatic effect of the different sentence lengths in this paragraph.

 

I thought it would be easy to find a good job and support myself once I graduated from college. Now that I've applied for more than 100 jobs, I realized I was mistaken. Jobs don't come easy. Rent is unreasonable. And I live from paycheck to paycheck. In fact, I'm no longer sure where I want to be in life. Life can be hard, but I'm not giving up.


Interesting texts include a combination of sentence types: simple, compound and complex. Here are examples of simple sentences, which have just one clause.

 

Jobs don't come easy.

Rent is unreasonable.


by a comma ( , ) or words like and, but, however or so.

 

- Rent is unreasonable, and I live from paycheck to paycheck.

- Life can be hard, but I'm not giving up.


Here are examples of complex sentences, which may have one independent clause joined to one dependent clause (a clause that is not a full sentence) with words like once, now that, although, because or that.

 

- I thought it would be easy to find a good job and support myself once I graduated from college.

- Now that I've applied for more than 100 jobs, I realized I was mistaken.

- Don't let work influence your decision.

- I'm wondering if my decision was a mistake.

lunes, 11 de diciembre de 2023

Modal verbs of deduction: Past


 1 Select the correct answer.

1-  I don’t know why John didn’t come to the party: he may / can’t have been busy.
2 - Steven isn’t in the office: he must / can’t have gone home.
3 - Joe’s very clever: he must / might have passed all his exams with top marks.
4 - Sarah can’t fi nd her glasses: she might / can’t have left them at the restaurant.
5 - The man is in prison now: he can’t / could have robbed the bank yesterday.
6 - It’s eight o’clock and Helen’s in bed already: she can’t / must have been very tired.
7 - Paul’s late: he can’t / might not have heard the alarm.
8- This is not Tudor Square: we can’t / must have taken the wrong road.
9- Someone’s left their mobile here: it might / can’t have been Amy or Sheila.
10- Tom missed his train this morning: he can’t / must have arrived on time at the offi ce.


 2 Completa the fhrase with the verbs.

- Must have missed 
- Can’t have been
- Could have borrowed 
- May not have seen
- Might have told 
- Must have been
- Can’t have forgotten 
- Must have caught
- Can’t have gone  
- Must have lost


1. I can’t fi nd my ticket. I _______________ it.
2. Jack was in his offi ce fi ve minutes ago: he
_______________ home already.
3. James had three sandwiches. He _______________ very hungry.
4. The driver didn’t stop because he _______________ the red light.
5. Betty was very late last night: she _______________ the last bus.
6. Caroline looks very brown: the weather
_______________ bad on her holiday.
7. A Who told Rob about the party?
B I’m not sure: Clare _______________ him.
8. Here’s Sally already. She _______________ the
earlier train.
9. You _______________ his name: I’ve just introduced you to him.
10. I saw Jenny with lots of books: she _______________ them from the library.


3 - write a phrase using the words in parenthesis: must have, might / may /
could have o can’t have.

1 The streets are white this morning.
(it / snow / during the night)

2 The computer’s on.
(Jack / forget / switch it off)

3 I wonder why Ben hasn’t arrived yet.
(he / get lost)

4 Sylvia only had a small salad.
(she / be / very hungry)

5 There’s a lot of food in the fridge.
(mum / do / shopping)

6 Steven passed all his exams.
(he / study / very hard)

7 Diana looked terrible yesterday.
(she / be / very well)

8 I don’t know why Neil didn’t come to the concert last night. (he / work / late)

9 Tom’s car is here.
(he / drive / to work)

10 I wonder why Brian hasn’t called me.
(you / give / him / wrong number)


4 - TRANSLATION
Translate in Spanish the following sentences


1. It's cold: Pauline must have forgotten to
close the windows.

2. You can't have already finished your homework!

3. Steven must have arrived at the office very early this morning.

4. Juan may not have received your mensaje.

5. Your friends can't have arrived: their plane
it's late.

6. The streets are wet: it must have rained a lot.

7. Jack didn't come: he may have had another meeting.

8. Liz broke her arm: she must have had an accident.

9. Sue couldn't have forgotten your birthday.

10. Charles may have invited Jason to the party.

Unit3 - Modals of deduction – Extra practice



A. Complete these sentences by writing a suitable modal verb and the verb in brackets in
the correct form (present or past) in the gaps. In some cases, more than one answer may
be possible.

1. Everyone in the class ………………………… (work) incredibly hard because you have all
passed the exam!
2. I think she ………………………… (be) a really happy person because she’s always smiling
and laughing.
3. Jamie woke up in the night screaming. He ………………………… (have) a nightmare.
4. I don’t know why Irina hasn’t arrived yet. She ………………………… (have to) stay on late
at school, or she ………………………… (stop) on the way home to see some friends.
5. I don’t know how old the teacher is, but he looks quite young, so he …………………………
(be) more than 25.
6. They say it ………………………… (rain) at the weekend, so we won’t be able to play
football on Saturday.

B. Rewrite the sentences in italics using a modal verb: might, may, could, must or can’t in
the right tense.

1. Ryan is behaving very strangely. I’m sure he’s in love.
He ……………………………… must be……………………………………………………… in love.
2. Deborah is looking a bit tired. Perhaps she’s working too hard.
She……………………………………………………………………………………………………………………. .
3. He never goes on holiday. I don’t suppose he earns much.
He…………………………………………………………………………………………………………………….. .
4. She’s studying full-time and she has a job in a restaurant. I imagine that’s very hard.
That…………………………………………………………………………………………………………………….. .
5. That man’s quite young. He’s definitely not Claire’s grandfather.
That…………………………………………………………………………………………………………………….. .
6. He’s just bought a new car and a yacht. He obviously sold his business for a lot of
money.
He…………………………………………………………………………………………………………………….. .
7. Andy and Sarah aren’t speaking to each other. I don’t believe they’ve had another
argument.
They…………………………………………………………………………………………………………………….. .
8. You seem very familiar. Perhaps we’ve met before.
We …………………………………………………………………………………………………………………….. .
9. She says she doesn’t like children. I’m sure she didn’t have a happy childhood herself.
She …………………………………………………………………………………………a happy childhood.
10. I don’t know why she didn’t tell me she’d left her job. It’s possible she thought I would
be angry.
She …………………………………………………………………………………………………………………….. .

martes, 5 de diciembre de 2023

Linguistic Lesson 4 - SEMANTIC

I've shown that sentences in human language have two layers of meaning, a semantic and a pragmatic meaning. I will introduce you into some aspects of semantics. In particular, the meaning of words. 

Let's start with the meaning of the word orange

Where exactly do we find orange? Well, it's somewhere around here. And native speakers will agree about that, but there will not be an exact agreement. There's actually not a precise definition of orange. We cannot just say, orange is from here to here. It's more or less from here to more or less here. 

This changes if we turn our attention to other languages, and other cultures. For one thing, not all languages even have a word for orange, or for green for that matter. 

So there are languages which have just one word for this whole area, which we, in English, would call green and blue. But they have just one word for that. 

There's languages which even have just three different color names, something like white, something like black and then typically something like red. So white, the whitish word would be a word for all the clear colors. Black would be there for black and brown, and in some languages also for green. 

And red would be for orange, and for pink and for red itself, obviously. 

Now, interestingly those languages can differ a little bit. I already said some languages would think that green is a kind of black. 

In other languages, green is actually a kind of red. 

What's true for colors probably also is true for everything else in the world. Languages divide this world in different ways, using different categories, and those categories are not necessarily extremely precise. 


At the same time it has been claimed that there is some structure to the way in which languages assign color names. It's not just divided randomly, the rainbow. 

For instance, all languages seem to distinguish between dark and light, between black and white, if you will. 

And then, if a language has a further color term beyond dark and light, that is invariably red. And then, if there's a fourth term, that's always either green or yellow. 


And then, if there's yet another color term, that's again either green or yellow, depending on which of the two is missing. And after this comes blue. 

It's probably not a coincidence that red, green, blue and yellow are the basic colors in optics, or in physics, for instance. It's probably also not a coincidence that this order is reflected in the structure of the human eye. That we see red much more easily than the other colors. And after this, again come green, yellow, and blue. 


Now I have to say that the results about these universals, the way I explained them just now, have not been uncontested. There are some critics, who say that proponents of such universals think in an ethnocentric way. They for instance take English or more generally western culture to be the model of all cultures. And they would try to put humans in different cultures in this western frame. And this is pervasive debate not just in discussions about semantics but in many parts of linguistics. 


To what extent can we say that aspects of human language are universal, so, recur in all languages? And if they are universal, are they given, for instance, by human biology? 

And to what extent are languages influenced by the surrounding culture, rather than being universal? 

To some extent, both things must be true. It must be true that partly, part of this is universal. We can only name colors which we can see with our eyes. 


At the same time, it most also be partly cultural, because of the differences between languages. 

Something similar is true about the relation between language and thought, also this has caused a lot of heated debate which is also still going on. 

In our particular case the question could be, do people who speak a language with relatively few color terms find it more difficult to distinguish between different colors? So if you have only three words for colors in your language, is it more difficult to distinguish between yellow and green than if you have those words? 


Now very clearly you could do an experiment about this. You could show people tiles in different colors and you could ask them whether they are the same color or different colors. 

The results of those experiments are very mixed. 

On the one hand people who have no different words for orange and red, still do see the difference between orange and red tiles. 


On the other hand people who do have words for orange and red, might have an advantage. For instance in some experiments, they might be slightly quicker in taking the relevant decision. 

Now that in turn could also be just a result of them being more experienced in making these distinctions because that's what they do in their language all the time because they have these different words. 

I think it's fair to say that this debate just has not completely resolved yet. 

It's also about very deep things. Think about it. 


How is the world you see around you? How are the colors you see around you affected by your language? 

Or by your culture? And, how is it just caused by the fact that you are a human being and you have the eyes you have. 

So, we have seen that even a relatively simple thing like color terms is actually not all that simple. Languages can differ in that. And that may or may not affect the way we see the world, in which we see languages. 

linguistics: lesson 4 : pragmatics

We looked at the semantic layer of meaning, at semantics. And in particular we looked at the meaning of words, at color terms. 

Now I want to go a little bit deeper into this other layer of meaning. Which its call pragmatics. The pragmatics is about the situation. It's about a meaning which is given by this situation. It's about situational meaning. 

I gave the example of: I do not have any money.  And I gave you all these different kinds of meanings that such a sentence can have in different situations. 
I have to warn you that in this part of the module we will really talk a little bit less on variation, less on languages other than English. 

We do so less than in other parts of the course because pragmatics seems more removed from linguistic differences. As a matter of fact, you can even do pragmatics without language. I gave you an example of that before, also, when I did this grunt. ahh! But even if I don't make any sound you can say there's something pragmatic. If I point here, you immediately think that I have a meaning with that, that I mean something with pointing my finger like this, to that. That meaning is also pragmatic. 

We have seen that semantics is typically about truth and falsehood and pragmatics is not. Now some sentences just clearly are not really true or false. We cannot say they're true or that they're false. Here are a few examples of such sentances. I name this ship the Queen Elizabeth. You can't say that's false. You don't name the ship the Queen Elizabeth. You name the ship Queen Mary. 

Maybe you can say you shouldn't do that but you cannot say it's false. Similarly when I get married, I say, I do. And then you can't say, no, that's false. You don't. 
Or I say, In my will, I give and bequeath my watch to my brother. It's a little bit more formal, but again it's not really true or false that I say that. It's an act. That's going to be an important word. 

And the final example, I bet you sixpence, it will rain tomorrow. Again you can't say no you don't, you're not betting. Yes I am betting, I'm saying that I'm betting. 
These examples are from a British philosopher called Austin. Who argued that, there can be sentences which are what he called speech acts. 

So, speech acts are sentences of which we cannot say that they describe the world, but that they change it. 
Now, in most of the sentences we've just seen, this actually becomes explicit because there is some verb. Which denotes that, action by which we change the world. Name, or give and bequeath, or bet, but there's other kinds of sentences which are also not clearly true or false. But, in which there's no such verb present. If I say listen, or a penny for your thoughts! In the latter sentence, there's not even any verb at all. 

And still, they're not true or false. If I say to you, listen, you can't say, no, that's false. You have to do something. And I'm making you do something, so I'm changing the world. 

Now, if you philosophize a little bit about this, you could say every sentence, in the end, changes the world a little bit. If I just tell you something. If you, if I tell you it's raining outside, how am I changing the world a little bit? Well after I've said that, now you know that it's raining outside. So I've changed you and I've changed the world. Sometimes the pragmatic meaning can even come from things you do not say, from being silent. 

Here's a famous example. Suppose a law professor is asked to write a reference letter for a former student of hers. The former student is now applying to become an associate in a law firm. The professor writes the following letter. Dear Sir, Ms. X has been my student between 2012 and 2014, and I can assure you that her handwriting is very clear and that she has a very good taste in Italian food. Yours sincerely, Professor Y. Would miss X, the student be very happy about this letter. 

Well, I don't think she would. But, it's funny, because strictly speaking, lets say at the semantic layer, the letter doesn't say anything negative about her. As a matter of fact, it only mentions positive things about her. That her handwriting is very clear that she likes Italian food. 

That's the best candidate there is, or no. But the pragmatic layer there seems to be some problem. The reason is that in a reference letter one expects the writer to be as positive about a candidate as he or she can. 
And since Professor Y mentions two positive things, but they both don't seem to be very relevant to the application, it doesn't really matter if you want to be an associate in a law firm whether or not you like Italian food, or whether your handwriting is very clear. 

We assume that she is trying to tell us in some complicated way, that she doesn't have anything positive and relevant to say. 
And that's why some, very weird and complicated calculations, think about it, we know that she thinks that maybe Ms. X is not such a good candidate after all. 
Now this calculation is not just very complicated it involves her knowing that we will know that this is actually not relevant. It's also very quick and completely automatic. 

It's very quick and automatic, if you read the letter you don't realize you're doing all this calculation. But you do see that the letter is not actually very positive. 
The thing about pragmatics is that you can also ignore it, you can ignore these pragmatic layers of meaning and people sometimes do. But that then leads to misunderstanding, or even annoyance. So here's an example. Suppose you come home and your spouse tells you he has eaten half of the apple pie you baked yesterday. Okay, he ate half the apple pie. You walk to the fridge and you discover that there's no apple pie at all. 

The whole apple has been eaten, it has actually been eaten by your spouse. 
Now you get very upset and angry with him, right? Most people would, but why is that? Because he has said the truth, he has eaten half of the apple pie hasn't he, I mean, if you eat the whole apple pie you also eat half of the apple pie. So it's on a semantic level, it's true what he says. So, why are you annoyed? Well, you're annoyed because it would have been more informative and important for you to know he has eaten the whole apple pie, then he has eaten the half apple pie. So, why would somebody go through this trouble of saying to you, I ate half of the apple pie, when it would actually have been shorter, and easier, and more informative to have said that he has eaten the whole thing. 

What this example shows is that apparently there are certain rules about what you say and what you mean when you say certain things. And people are very aware of that rule, rules, and you are annoyed when somebody doesn't obey that rule, when your spouse says things which you could interpret in a different way. 

The British philosopher Paul Grice has become very famous for establishing a set of so-called maxims, names for those rules. Rules which participants in a conversation are supposed to hold. One of those maxims is that of quantity. It says that the speaker is assumed to provide as much information as he thinks is relevant. 

So, all the information which is relevant, if I eat the whole cake, that's what I say. Or, in our example of Professor Y, because of this maxim of quantity you assume that the professor's giving as much information as is necessary to make the relevant decision to hire Ms. X. Well if the only thing she has to offer is this information, apparently, we conclude that she's trying to reveal to us that she doesn't have anything really positive to say. 

So we assume that she knows that we understand that too. So there's actually a lot of calculation, back and forth, going on, right? So she assumes that we know this. We know that she assumes that she knows this. She knows that we know that we, et cetera. 

You can start wondering, why does she do it in this complicated way? 
Why does she choose this route, why doesn't she just say, well, I've nothing positive to say? That's actually because this pragmatic layer has this kind of weakness, you can always deny it, you can always say, well, I only said positive things about you. So what we have seen in this video is that it's very important to distinguish a pragmatic layer of meaning next to this semantic layer of meaning. This pragmatic layer is always there and it's always a little bit different from semantics. 

Every sentence we say has a pragmatic meaning. We change the world by saying the things we do. Sometimes this can be very explicit when I say I do and I'm in a wedding ceremonial. Sometimes it's not so explicit but it's still there. That's the reason why we call our utterances speech acts. 

But even when we omit something, when we don't say something, that can have a meaning. That was the example, both of the reference letter, and of the apple pie. By not saying the right things about either of those two situations. The other person is going to infer that we mean something else than what we are actually saying. It's this complicated process which is studied by people who study pragmatics.

domingo, 3 de diciembre de 2023

INTERPRETING TEXTS

Naturally, the primary purpose of an essay on a literary text is to provide an interpretation of that text. In so doing, an essay needs to move beyond a description of characters and events to an analysis of the different elements of the text.

This analysis should bear in mind that the world that is presented in the text may well be fundamentally different from the world in which you live. Therefore, in analysing the characters and events of a text, you will need to take an "imaginative leap" into the moral and social framework of that text, imagining how such characters and events would be judged from within that framework.

The following tasks are designed to highlight these two different aspects of interpreting texts: narrative vs. analysis and making judgements. Select these individual tasks from the menu on the left


NARRATIVE VS ANALYSIS

Click on the highlighted text to see the comments.

When discussing a literary text, it is easy to get sidetracked into describing what happens in the text rather than analysing the text. That is, you might give an accurate summary of the characters and what happens in the text, instead of providing, for example, an explanation of the theme and how the various elements in the story contribute to making the theme more evident.

If you simply tell the reader of your essay what happens in the text, you have not helped them to understand the text better because the reader can easily have read the text him or herself. Analysis, on the other hand, provides the reader with some insight into the events of the text:


What are the ideas that lie at the centre of the text? How are these ideas presented in the text (e.g. through metaphor and symbolism, through dialogue, through supernatural events, etc.)?

1. Read the following extract from a student' s essay on the novel, Jane Eyre:

[1] "I must be provided for by a wealthy marriage" (p. 343). 

[2] These were the circumstances surrounding a young Edward Rochester's marriage to Bertha Mason. Rochester's father had given all of his money to his older son Rowland, leaving Edward penniless, so he had to marry wealth. 

[3] The Masons were acquaintances of the family, so where better to find a match than with a wealthy family in the West Indies who were willing to give Edward 30,000 pounds for marrying their daughter Bertha. 

[4] Rochester knew nothing of the money "My father told me nothing about her money; but he told me Miss Mason was the boast of Spanish Town for her beauty; and this was no lie. I found her a fine woman. . . tall, dark and majestic" (p. 343). 

[5] When they married, Rochester and Bertha had barely spoken, they had simply appearances to go by and for Edward this was all he needed. 

[6] The Rochester narrative in the novel paints him as a naive young man doing what his father told him was best. 

[7] It could almost be said that he was tricked into the marriage.


Which sentences provide a description of the text and which make an evaluation or analysis of the characters and events of the text? Select them from the list below below.


DESCRIPTION:

Sentence 1 

Sentence 2 

Sentence 3 

Sentence 4

Sentence 5 

Sentence 6 

Sentence 7


EVALUATION/ANALYSIS:

Sentence 1 

Sentence 2 

Sentence 3 

Sentence 4

Sentence 5 

Sentence 6 

Sentence 7


CHECK YOUR ANSWERS


2. Now read the following passage from another student's essay on the novels, Jane Eyre and Wide Sargasso Sea

Rochester is the dominant masculine subject in both Wide Sargasso Sea and Jane Eyre. In Wide Sargasso Sea, Antoinette and Rochester's loveless wedlock is representative of many marriages during the mid 19 th century. Rochester's motives seem suspiciously mercenary, as his marriage to Antoinette (a prosperous Creole heiress) inevitably makes him incredibly rich according to customary English law. Christophine realizes Rochester's underlying ambitions: "Everyone knows that you marry her for her money and you take it all" (p. 98). 

Their wedding, as described in Rochester's narrative during Part Two, seems superficial: as Rochester remembers, "It meant nothing to me. Nor did she, the girl I was to marry" (p. 46). 

Rochester vividly remembers the touch of his bride's hand: "cold as ice in the hot sun" (p. 47). Although Antoinette is "afraid of what may happen" (p. 48), she nevertheless marries him, as the necessity of securing a husband overwhelms her. On the other hand, the autonomous Jane is able to reject a prospective husband, St. John, by audaciously telling him, "I scorn your idea of love" (p. 408). Jane is able to marry for love, not out of necessity. Antoinette's thoughts on marriage represent the norm for many women living in 19 th century society. Unlike Jane's experiences in Jane Eyre, the security of marriage was the ultimate gain in a woman's life during that patriarchal era.

Can you identify phrases that indicate an analysis of the events in the novel? Select them from the list below below:

 "...dominant masculine subject..." 

 "...loveless marriage is representative..." 

 "...motives seem suspiciously mercenary..." 

 "...inevitably makes him incredibly rich..." 

 "Their wedding... seems superficial..." 

 "...necessity of securing a husband overwhelms..." 

 "...able to reject a prospective husband..." 

 "...thoughts on marriage represent the norm..." 

 "...security of marriage was the ultimate gain..." 


Check Your Answers

Making Judgements

Click on the highlighted text to see the comments.

Sometimes, students can get sidetracked into making value judgements about characters' actions, basing their arguments on the values and conditions of the time and place of the world in which they themselves live. In interpreting a text, it is important to keep in mind that the world of the text is different from the world that you inhabit. When dealing with works from the distant past, this is easier to keep in mind. For example, Charlotte Bronte published her novel, Jane Eyre, in 1847; the values and conditions of Bronte's mid-19 th century world are clearly very different from our own.

But, in addition to these differences between the world of the author and the world of the reader, there are also differences between these two worlds and the world of the text itself. Bronte presents a moral and social framework within the novel that is characteristic of that particular novel; it is not identical with the life that she led or the world that she inhabited. It is thus important to distinguish between the author and the narrator: the character Jane Eyre is not Charlotte Bronte, and Jane's world is not the same as Bronte's world.

To illustrate how one might describe a novel's social framework, here is what one of your lecturers, Alan Dilnot, had to say about the world of the novel, Jane Eyre:

"When interpreting a text, It is important to try to understand the conditions of the world as it is set up and depicted within the novel. In Jane Eyre, for example, one of the underlying themes is that women have to fight harder in their world - in the world of the novel - to make themselves heard and to leave a mark on the world than men do. Men in the novel may or may not be treated sympathetically, but they are more likely to be in positions of power than women are; and they tend to set up situations in which the lives of women are circumscribed or at least influenced."

The differences between the world of the reader, of the author, and of the text, can be illustrated clearly through a discussion of the novel, Wide Sargasso Sea. Here is what Alan Dilnot had to say:


"Wide Sargasso Sea (WSS) was produced much nearer to our own time (1966), but the action in the novel is set back in the first half of the 19th century. The author, Jean Rhys, has in fact made exactly the kind of imaginative leap from her own time to the time of the characters in the novel that readers of literature need to make. In any case a reader of WSS who is located in the early 21st century in Australia needs to make some allowance for social relationships as they were in the West Indies in the early part of the 19th century, and affected as they were by ethnic and racial antagonisms and hostilities.

Some of these issues are presented as being extremely complex in the world of WSS. Now we've got to make some allowance for these factors, even if they don't occur in our own daily lives; we've got to ask ourselves what a world would be like in which these were important factors. So that's the kind of imaginative leap that students often need to make when they are writing on a work of literature."

In presenting your analysis of a text, it is important to avoid making judgements from within your own moral and social framework, and instead look for the elements in the text itself that support a particular interpretation.

To illustrate this point, let's look at an example from an essay on Jane Eyre.


First, read the following essay topic:

Mr. Rochester describes in Vol. 3, Chapter 1, the circumstances in which he was married to Bertha Mason, and how he came to incarcerate her in the attic at Thornfield. What do we learn about him from this and how far does the novel endorse his claim that he has acted for the best?

Now, read the following conclusion to an essay on this topic:

Many incidents in the novel demonstrate that what Rochester did was in the best interests of Bertha, but these only occur during his narrative when a negative picture is painted of Bertha, but a closer reading of the novel doesn't endorse this claim. There are immense problems with what Rochester did. The incarceration of Bertha in the attic most probably caused her onset of madness to flourish. She should have been rehabilitated rather than imprisoned. Certainly Rochester kept to his marriage obligation and had Bertha taken care of but in reality what Rochester did wasn't the best thing for her condition. We must remember though that Rochester was young and naive when he got married so hiding Bertha away meant that if he couldn't see the problem then it meant that it wasn't there enabling him to move on with his life. Ultimately though we learn that Rochester thought what he did was the right thing to do for not only Bertha but also for himself, but in reality he caused more harm than good.


Has this student answered the question posed in the assignment topic?

Does her analysis interpret events in terms of the moral and social framework of the novel itself, rather than in terms of her own world?


Check your answers

Further resources for Literature

Books

Fox, Alistair (Ed.). 1995. How to Study Literature in English: A Guide for the Advancing Student, 3 rd Edition. Otago, NZ: University of Otago Press.

Griffith Jr., Kelley. 1990. Writing Essays in Literature: A Guide and Style Sheet, 3 rd Edition. San Diego: Harcourt Brace Jovanovich.

Speech Errors - Blending Mistakes

 A speech error, commonly referred to as a slip of the tongue [1] 

(Latin: lapsus linguae, or occasionally self-demonstratingly, lipsus languae), is a deviation (conscious or unconscious) from the apparently intended form of an utterance. [2] 

They can be subdivided into spontaneously and inadvertently produced speech errors and intentionally produced word-plays or puns. Another distinction can be drawn between production and comprehension errors. Errors in speech production and perception are also called performance errors.[3]

Speech errors are common among children, who have yet to refine their speech, and can frequently continue into adulthood. They sometimes lead to embarrassment and betrayal of the speaker's regional or ethnic origins. However, it is also common for them to enter the popular culture as a kind of linguistic "flavoring". Speech errors may be used intentionally for humorous effect, as with Spoonerisms.

Within the field of psycholinguistics, speech errors fall under the category of language production. Types of speech errors include: exchange errors, perseveration, anticipation, shift, substitution, blends, additions, and deletions. The study of speech errors contributes to the establishment/refinement of models of speech production.


Contents  


1 Psycholinguistic explanations

2 Psycholinguistic classification

2.1 Types

2.1.1 Examples

3 Scientific relevance

3.1 Evidence and insights

4 Information obtained from performance additions

5 See also

6 References

7 Further reading

8 External links

Psycholinguistic explanations


Speech errors are made on an occasional basis by all speakers. [1] 

They occur more often when speakers are nervous, tired, anxious or intoxicated. [1] 

During live broadcasts on TV or on the radio, for example, nonprofessional speakers and even hosts often make speech errors because they are under stress. [1] 

Some speakers seem to be more prone to speech errors than others. For example, there is a certain connection between stuttering and speech errors.[4]

 Charles F. Hockett explains that "whenever a speaker feels some anxiety about possible lapse, he will be led to focus attention more than normally on what he has just said and on what he is just about to say. These are ideal breeding grounds for stuttering."[4] 

Another example of a “chronic sufferer” is Reverend William Archibald Spooner, whose peculiar speech may be caused by a cerebral dysfunction, but there is much evidence that he invented his famous speech errors (spoonerisms). [1]


An outdated explanation for the occurrence of speech errors is the one of Sigmund Freud, who assumed that speech errors are the result of an intrapsychic conflict of concurrent intentions.[1] 

“Virtually all speech errors [are] caused by the intrusion of repressed ideas from the unconscious into one’s conscious speech output”, Freud explained.[1] 

This gave rise to the expression Freudian slip. His theory was rejected because only a minority of speech errors were explainable by his theory.[1]


Psycholinguistic classification[edit]

There are few speech errors that clearly fall into only one category. The majority of speech errors can be interpreted in different ways and thus fall into more than one category.[5] 

For this reason, you are well advised to be skeptical about percentage figures for the different kinds of speech errors.[6] 

Moreover, the study of speech errors gave rise to different terminologies and different ways of classifying speech errors. Here is a collection of the main types:



Types of speech errors

Type Definition Example

Addition "Additions add linguistic material."[1] 

Target: We

Error: We and I

Anticipation "A later segment takes the place of an earlier segment."[1] 


Target: reading list

Error: leading list

Blends Blends are a subcategory of lexical selection errors.[6] 


More than one item is being considered during speech production. Consequently, the two intended items fuse together.[1] 


Target: person/people

Error: perple

Deletion Deletions or omissions leave some linguistic material out.[1] 


Target: unanimity of opinion

Error: unamity of opinion

Exchange Exchanges are double shifts. Two linguistic units change places.[1] 


Target: getting your nose remodeled

Error: getting your model renosed

Lexical selection error The speaker has "problems with selecting the correct word".[6]

 Target: tennis racquet

Error: tennis bat

Malapropism, classical The speaker has the wrong beliefs about the meaning of a word. Consequently, he produces the intended word, which is semantically inadequate. Therefore, this is a competence error rather than a performance error. Malapropisms are named after a character from Richard B. Sheridan’s eighteenth-century play "The Rivals".[3] 


Target:The flood damage was so bad they had to evacuate the city.

Error: The flood damage was so bad they had to evaporate the city.

Metathesis "Switching of two sounds, each taking the place of the other."[3] 


Target: pus pocket

Error: pos pucket

Morpheme-exchange error[6] Morphemes change places. 


Target: He has already packed two trunks.

Error: He has already packs two trunked.

Morpheme stranding Morphemes remain in place but are attached to the wrong words.[7] 


Target: He has already packed two trunks.

Error: He has already trunked two packs.

Omission cf. deletions 


Target: She can’t tell me.

Error: She can tell me.

Perseveration "An earlier segment replaces a later item."[1] 


Target: black boxes

Error: black bloxes

Shift "One speech segment disappears from its appropriate location and appears somewhere else."[1] 


Target: She decides to hit it.

Error: She decide to hits it.

Sound-exchange error Two sounds switch places.[6] 


Target: Night life [nait laif]

Error: Knife light [naif lait]

Spoonerism A spoonerism is a kind of metathesis. Switching of initial sounds of two separate words.[3] They are named after Reverend William Archibald Spooner, who probably invented most of his famous spoonerisms.[6] 


Target: I saw you light a fire.

Error: I saw you fight a liar.

Substitution One segment is replaced by an intruder. The source of the intrusion is not in the sentence.[1] 


Target: Where is my tennis racquet?

Error: Where is my tennis bat?

Word-exchange error A word-exchange error is a subcategory of lexical selection errors.[6] Two words are switched. 


Target: I must let the cat out of the house.

Error: I must let the house out of the cat.

Speech errors can affect different kinds of segments or linguistic units:


Segments

Segment Example


Distinctive or phonetic features 

Target: clear blue sky

Error: glear plue sky (voicing)


Phonemes or sounds 

Target: ad hoc

Error: odd hack


Sequences of sounds 

Target:spoon feeding

Error: foon speeding

Morphemes 

Target: sure

Error: unsure

Words 

Target: I hereby deputize you.

Error: I hereby jeopardize you.

Phrases 

Target: The sun is shining./The sky is blue.

Error: The sky is shining.


Types

Grammatical - For example, children take time to learn irregular verbs, so in English use the -ed form incorrectly. This is explored by Steven Pinker in his book Words and Rules.


Mispronunciation

Vocabulary - Young children make category approximations, using car for truck for example. This is known as hyponymy.


Examples[edit]

"Particuly" (particularly) ← elision

"syntaxically" (syntactically) ← vocabulary


Scientific relevance

Speech production is a highly complex and extremely rapid process so that research into the involved mental mechanisms is very difficult.[6] 

Investigating the audible output of the speech production system is a way to understand these mental mechanisms. According to Gary S. Dell "the inner workings of a highly complex system are often revealed by the way in which the system breaks down".[6]

Therefore, speech errors are of an explanatory value with regard to the nature of language and language production.[8]


Performance errors may provide the linguist with empirical evidence for linguistic theories and serve to test hypotheses about language and speech production models.[9] For that reason, the study of speech errors is significant for the construction of performance models and gives insight into language mechanisms.[9]


Evidence and insights

Speech errors provide investigators with insights into the sequential order of language production processes.[6]

Speech errors clue investigators in on the interactivity of language production modules.[8]

The existence of lexical or phonemic exchange errors provides evidence that speakers typically engage in forward planning their utterances. It seems that before the speaker starts speaking the whole utterance is available.[6]


Anticipation

Target: Take my bike.

Error: Bake my bike.


Perseveration

Target: He pulled a tantrum.

Error: He pulled a pantrum.


Performance errors supply evidence for the psychological existence of discrete linguistic units.

Speech errors involve substitutions, shifts, additions and deletions of segments. "In order to move a sound, the speaker must think of it as a separate unit."[3] Obviously, one cannot account for speech errors without speaking of these discrete segments. They constitute the planning units of language production.[1] Among them are distinctive features, phonemes, morphemes, syllables, words and phrases. Victoria Fromkin points out that "many of the segments that change and move in speech errors are precisely those postulated by linguistic theories." Consequently, speech errors give evidence that these units are psychologically real.


One can infer from speech errors that speakers adhere to a set of linguistic rules.

"There is a complex set of rules which the language user follows when making use of these units."[3] Among them are for example phonetic constraints, which prescribe the possible sequences of sounds.[3] Moreover, the study of speech error confirmed the existence of rules that state how morphemes are to be pronounced or how they should be combined with other morphemes.[3] The following examples show that speech errors also observe these rules:


Target: He likes to have his team rested. [rest+id]

Error: He likes to have his rest teamed. [ti:m+d]


Target: Both kids are sick. [kid+z]

Error: Both sicks are kids. [sik+s]


Here the past tense morpheme resp. the plural morpheme is phonologically conditioned, although the lemmas are exchanged. This proves that first the lemmas are inserted and then phonological conditioning takes place.


Target: Don’t yell so loud! / Don’t shout so loud!

Error: Don’t shell so loud!

"Shout" and "yell" are both appropriate words in this context. Due to the pressure to continue speaking, the speaker has to make a quick decision which word should be selected.[4] This pressure leads to the speaker’s attempt to utter the two words simultaneously, which resulted in the creation of a blend.[4] According to Charles F. Hockett there are six possible blends of "shout" and "yell".[4] Why did the speaker choose "shell" and not one of the alternatives? The speaker obeyed unconscious linguistic rules because he selected the blend, which satisfied the linguistic demands of these rules the best.[4] Illegal non-words are for example instantaneously rejected.


In conclusion, the rules which tell language users how to produce speech must also be part of our mental organization of language.[3]

Substitution errors, for instance, reveal parts of the organization and structure of the mental lexicon.


Target: My thesis is too long.

Error: My thesis is too short.

In case of substitution errors both segments mostly belong to the same category, which means for example that a noun is substituted for a noun. Lexical selection errors are based on semantic relations such as synonymy, antonymy or membership of the same lexical field.[2] For this reason the mental lexicon is structured in terms of semantic relationships.[3]

Target: George’s wife

Error: George’s life


Target: fashion square

Error: passion square

Some substitution errors which are based on phonological similarities supply evidence that the mental lexicon is also organized in terms of sound.[3]


Errors in speech are non-random. Linguists can elicit from the speech error data how speech errors are produced and which linguistic rules they adhere to. As a result, they are able to predict speech errors.

Four generalizations about speech errors have been identified:

Interacting elements tend to come from a similar linguistic environment, which means that initial, middle, final segments interact with one another.

Elements that interact with one another tend to be phonetically or semantically similar to one another. This means that consonants exchange with consonants and vowels with vowels.

Slips are consistent with the phonological rules of the language.

There are consistent stress patterns in speech errors. Predominantly, both interacting segments receive major or minor stress.


Information obtained from performance additions

An example of the information that can be obtained is the use of "um" or "uh" in a conversation.[10] These might be meaningful words that tell different things, one of which is to hold a place in the conversation so as not to be interrupted. There seems to be a hesitant stage and fluent stage that suggest speech has different levels of production. The pauses seem to occur between sentences, conjunctional points and before the first content word in a sentence. That suggests that a large part of speech production happens there.

Schachter et al. (1991) conducted an experiment to examine if the numbers of word choices affect pausing. They sat in on the lectures of 47 undergraduate professors from 10 different departments and calculated the number and times of filled pauses and unfilled pauses. They found significantly more pauses in the humanities departments as opposed to the natural sciences.[11] These findings suggest that the greater the number of word choices, the more frequent are the pauses, and hence the pauses serve to allow us time to choose our words.

Slips of the tongue are another form of "errors" that can help us understand the process of speech production better. Slips can happen at many levels, at the syntactic level, at the phrasal level, at the lexical semantic level, at the morphological level and at the phonological level and they can take more than one form like: additions, substations, deletion, exchange, anticipation, perseveration, shifts, and haplologies M.F. Garrett, (1975).[12] Slips are orderly because language production is orderly.

There are some biases shown through slips of the tongue. One kind is a lexical bias which shows that the slips people generate are more often actual words than random sound strings. Baars Motley and Mackay (1975) found that it was more common for people to turn two actual words to two other actual words than when they do not create real words.[13] This suggests that lexemes might overlap somewhat or be stored similarly.

A second kind is a semantic bias which shows a tendency for sound bias to create words that are semantically related to other words in the linguistic environment. Motley and Baars (1976) found that a word pair like "get one" will more likely slip to "wet gun" if the pair before it is "damp rifle". These results suggest that we are sensitive to how things are laid out semantically.[14]

Gender Issues

TASKS


- Talking about traditional values

- Discussing gender differences

- Talking about rude behavior

- Gender differences in your country


VOCABULARY

Able-bodied  adj. physically healthy, fit and strong in contrast to sb who is weak or disabled

Cab [UK] [kæb] [US] [kæb] noun a taxi

Angel [UK] [ˈeɪndʒl] [US] [ˈeɪndʒl] noun a spirit who is believed to be a servant of God, and is sent by God to deliver a message or perform a task. Angels are often shown dressed in white, with wings.

Cater To Sb/sth to provide the things that a particular type or person wants, especially things that you do not approve of

Embarrassing [UK] [ɪmˈbærəsɪŋ] [US] [ɪmˈbærəsɪŋ] adj. making you feel shy, awkward or ashamed

Enlist [UK] [ɪnˈlɪst] [US] [ɪnˈlɪst] verb to persuade sb to help you or to join you in doing sth

Independent [UK] [ˌɪndɪˈpendənt] [US] [ˌɪndɪˈpendənt] adj. confident and free to do things without needing help from other people

Excuse [UK] [ɪkˈskjuːs] [US] [ɪkˈskjuːs] noun a reason, either true or invented, that you give to explain or defend your behaviour

Generalize [UK] [ˈdʒenrəlaɪz] [US] [ˈdʒenrəlaɪz] verb to make a general statement about sth and not look at the details

Glass Ceiling  noun the way in which unfair attitudes can stop women, or other groups, from getting the best jobs in a company, etc. although there are no official rules to prevent them from getting these jobs

Striking [UK] [ˈstraɪkɪŋ] [US] [ˈstraɪkɪŋ] adj. interesting and unusual enough to attract attention

Innermost [UK] [ˈɪnəməʊst] [US] [ˈɪnərmoʊst] adj. most private, personal and secret

Insinuate [UK] [ɪnˈsɪnjueɪt] [US] [ɪnˈsɪnjueɪt] verb to suggest indirectly that sth unpleasant is true

Support [UK] [səˈpɔːt] [US] [səˈpɔːrt] noun sympathy and help that you give to sb who is in a difficult or unhappy situation

Male Chauvinist  noun a man who believes men are more important, intelligent, etc. than women

Narrowly [UK] [ˈnærəʊli] [US] [ˈnæroʊli] adv. in a way that is limited

Thoughtful [UK] [ˈθɔːtfl] [US] [ˈθɔːtfl] adj. showing that you think about and care for other people

Irresponsible [UK] [ˌɪrɪˈspɒnsəbl] [US] [ˌɪrɪˈspɑːnsəbl] adj. not thinking enough about the effects of what they do; not showing a feeling of responsibility

Overseas [UK] [ˌəʊvəˈsiːz] [US] [ˌoʊvərˈsiːz] adj. connected with foreign countries, especially those separated from your country by the sea or ocean

Questionable [UK] [ˈkwestʃənəbl] [US] [ˈkwestʃənəbl] adj. that you have doubts about because you think it is not accurate or correct

Raise [UK] [reɪz] [US] [reɪz] verb to care for a child or young animal until it is able to take care of itself

Rhetorical [UK] [rɪˈtɒrɪkl] [US] [rɪˈtɔːrɪkl] adj. asked only to make a statement or to produce an effect rather than to get an answer

Rigid [UK] [ˈrɪdʒɪd] [US] [ˈrɪdʒɪd] adj. not willing to change their ideas or behaviour

Salary [UK] [ˈsæləri] [US] [ˈsæləri] noun money that employees receive for doing their job, especially professional employees or people working in an office, usually paid every month

Sarcastic [UK] [sɑːˈkæstɪk] [US] [sɑːrˈkæstɪk] adj. showing or expressing sarcasm

Shame [UK] [ʃeɪm] [US] [ʃeɪm] exclamation used to express sympathy, or to show that you like sb/sth

Shock [UK] [ʃɒk] [US] [ʃɑːk] verb to surprise and upset sb

Shut Up To Stop Talking (often used as an order as a rude way of telling sb to stop talking)

Single [UK] [ˈsɪŋɡl] [US] [ˈsɪŋɡl] noun people who are not married and do not have a romantic relationship with sb else

Snore [UK] [snɔː(r)] [US] [snɔːr] verb to breathe noisily through your nose and mouth while you are asleep

Stereotype [UK] [ˈsteriətaɪp] [US] [ˈsteriətaɪp] noun a fixed idea or image that many people have of a particular type of person or thing, but which is often not true in reality

Support [UK] [səˈpɔːt] [US] [səˈpɔːrt] verb to like a particular sports team, watch their games, etc

Tip [UK] [tɪp] [US] [tɪp] noun a small piece of advice about sth practical

Traditional [UK] [trəˈdɪʃənl] [US] [trəˈdɪʃənl] adj. following older methods and ideas rather than modern or different ones

Value [UK] [ˈvæljuː] [US] [ˈvæljuː] noun beliefs about what is right and wrong and what is important in life

Weirdo [UK] [ˈwɪədəʊ] [US] [ˈwɪrdoʊ] noun a person who looks strange and/or behaves in a strange way

Workforce [UK] [ˈwɜːkfɔːs] [US] [ˈwɜːrkfɔːrs] noun all the people in a country or an area who are available for work

Feminist [UK] [ˈfemənɪst] [US] [ˈfemənɪst] noun a person who supports the belief that women should have the same rights and opportunities as men

Personal Finances

TASKS


- Talking about personal finances

- Giving a friend financial advice

- Talking about the cost of living

- Writing about your personal finances


VOCABULARY

Afford [UK] [əˈfɔːd] [US] [əˈfɔːrd] verb to have enough money or time to be able to buy or to do sth

Benefit [UK] [ˈbenɪfɪt] [US] [ˈbenɪfɪt] noun an advantage that you get from a company in addition to the money that you earn; money from an insurance company

Borrow [UK] [ˈbɒrəʊ] [US] [ˈbɑːroʊ] verb to take money from a person or bank and agree to pay it back to them at a later time

Broke [UK] [brəʊk] [US] [broʊk] adj. having no money

Budget [UK] [ˈbʌdʒɪt] [US] [ˈbʌdʒɪt] noun the money that is available to a person or an organization and a plan of how it will be spent over a period of time

Circumstance [UK] [ˈsɜːkəmstəns] [US] [ˈsɜːrkəmstæns] noun the conditions and facts that are connected with and affect a situation, an event or an action

Claim [UK] [kleɪm] [US] [kleɪm] verb to ask for money from the government or a company because you have a right to it

Utility [UK] [juːˈtɪləti] [US] [juːˈtɪləti] noun a service provided for the public, for example an electricity, water or gas supply

Tax [UK] [tæks] [US] [tæks] noun money that you have to pay to the government so that it can pay for public services. People pay tax according to their income and businesses pay tax according to their profits. Tax is also often paid on goods and services

Construction [UK] [kənˈstrʌkʃn] [US] [kənˈstrʌkʃn] noun the process or method of building or making sth, especially roads, buildings, bridges, etc

Cost Of Living  noun the amount of money that people need to pay for food, clothing and somewhere to live

Daily [UK] [ˈdeɪli] [US] [ˈdeɪli] adj. happening, done or produced every day

Gradually [UK] [ˈɡrædʒuəli] [US] [ˈɡrædʒuəli] adv. slowly, over a long period of time

Look Up   to become better

Man [UK] [mæn] [US] [mæn] exclamation used to express surprise, anger, etc

Medicare [UK] [ˈmedɪkeə(r)] [US] [ˈmedɪker] noun (in the US) the federal insurance system that provides medical care for people over 65

No Big Deal   used to say that sth is not important or not a problem

Ongoing [UK] [ˈɒnɡəʊɪŋ] [US] [ˈɑːnɡoʊɪŋ] adj. continuing to exist or develop

Owe [UK] [əʊ] [US] [oʊ] verb to have to pay sb for sth that you have already received or return money that you have borrowed

Pay Sb Back (sth)|pay sth back (to sb) to return money that you borrowed from sb

Pension [UK] [ˈpenʃn] [US] [ˈpenʃn] noun an amount of money paid regularly by a government or company to sb who is considered to be too old or too ill/sick to work

Mortgage [UK] [ˈmɔːɡɪdʒ] [US] [ˈmɔːrɡɪdʒ] noun a legal agreement by which a bank or similar organization lends you money to buy a house, etc, and you pay the money back over a particular number of years; the sum of money that you borrow

Policy [UK] [ˈpɒləsi] [US] [ˈpɑːləsi] noun a written statement of a contract of insurance

Remain [UK] [rɪˈmeɪn] [US] [rɪˈmeɪn] verb to continue to be sth; to be still in the same state or condition

Salary [UK] [ˈsæləri] [US] [ˈsæləri] noun money that employees receive for doing their job, especially professional employees or people working in an office, usually paid every month

Savings  noun money that you have saved, especially in a bank, etc

Selfish [UK] [ˈselfɪʃ] [US] [ˈselfɪʃ] adj. caring only about yourself rather than about other people

Set Sb Back Sth   to cost sb a particular amount of money

Stable [UK] [ˈsteɪbl] [US] [ˈsteɪbl] adj. firmly fixed; not likely to move, change or fail

Strapped [UK] [stræpt] [US] [stræpt] adj. having little or not enough money

Take Sth Out (of sth) to obtain money by removing it from your bank account

Thrifty [UK] [ˈθrɪfti] [US] [ˈθrɪfti] adj. careful about spending money and not wasting things

Water [UK] [ˈwɔːtə(r)] [US] [ˈwɔːtər] noun a liquid without colour, smell or taste that falls as rain, is in lakes, rivers and seas, and is used for drinking, washing, etc

Loan [UK] [ləʊn] [US] [loʊn] noun money that an organization such as a bank lends and sb borrows

Loaded [UK] [ˈləʊdɪd] [US] [ˈloʊdɪd] adj. very rich

Little By Little   slowly; gradually

Lend [UK] [lend] [US] [lend] verb to give money to sb on condition that they pay it back over a period of time and pay interest on it

Landlord [UK] [ˈlændlɔːd] [US] [ˈlændlɔːrd] noun a person or company from whom you rent a room, a house, an office, etc.

Ironic [UK] [aɪˈrɒnɪk] [US] [aɪˈrɑːnɪk] adj. strange or amusing because it is very different from what you expect

Independent [UK] [ˌɪndɪˈpendənt] [US] [ˌɪndɪˈpendənt] adj. having or earning enough money so that you do not have to rely on sb else for help

Income [UK] [ˈɪnkʌm] [US] [ˈɪnkʌm] noun the money that a person, a region, a country, etc. earns from work, from investing money, from business, etc

Half [UK] [hɑːf] [US] [hæf] noun either of two equal parts into which sth is or can be divided

Get By (on/in/with sth) to manage to live or do a particular thing using the money, knowledge, equipment, etc. that you have

Gas [UK] [ɡæs] [US] [ɡæs] noun a particular type of gas or mixture of gases used as fuel for heating and cooking

Factor [UK] [ˈfæktə(r)] [US] [ˈfæktər] noun one of several things that cause or influence sth

Extension [UK] [ɪkˈstenʃn] [US] [ɪkˈstenʃn] noun an extra period of time allowed for sth

Electrician [UK] [ɪˌlekˈtrɪʃn] [US] [ɪˌlekˈtrɪʃn] noun a person whose job is to connect, repair, etc. electrical equipment

Dude [UK] [duːd] [US] [duːd] noun a man

Deduction [UK] [dɪˈdʌkʃn] [US] [dɪˈdʌkʃn] noun the process of taking an amount of sth, especially money, away from a total; the amount that is taken away

Deductible [UK] [dɪˈdʌktəbl] [US] [dɪˈdʌktəbl] noun the part of an insurance claim that a person has to pay while the insurance company pays the rest

Deduct [UK] [dɪˈdʌkt] [US] [dɪˈdʌkt] verb to take away money, points, etc. from a total amount

Debt [UK] [det] [US] [det] noun a sum of money that sb owes

Turn Around / Round | turn sth around/round if a business, economy, etc. turns around or sb turns it around, it starts being successful after it has been unsuccessful for a time

Unemployed [UK] [ˌʌnɪmˈplɔɪd] [US] [ˌʌnɪmˈplɔɪd] adj. without a job although able to work

Unpleasant [UK] [ʌnˈpleznt] [US] [ʌnˈpleznt] adj. not pleasant or comfortable

Level 10, Unit 5 - Vocabulary

EXTREME SPORTS

TASKS

- Talking about extreme sports

- Describing an extreme experience

- Talking about risks and danger

- Writing about an extreme sport


VOCABULARY

Look forward to sth: to be thinking with pleasure about sth that is going to happen (because you expect to enjoy it)

Skydiving [UK] [ˈskaɪdaɪvɪŋ] [US] [ˈskaɪdaɪvɪŋ] noun: a sport in which you jump from a plane and fall for as long as you safely can before opening your parachute

Snowboarding [UK] [ˈsnəʊbɔːdɪŋ] [US] [ˈsnoʊbɔːrdɪŋ] noun the sport of moving over snow on a snowboard

Surfing [UK] [ˈsɜːfɪŋ] [US] [ˈsɜːrfɪŋ] noun the sport of riding on waves while standing on a narrow board called a surfboard

Rock Climbing  noun the sport or activity of climbing steep rock surfaces

Windsurfing [UK] [ˈwɪndsɜːfɪŋ] [US] [ˈwɪndsɜːrfɪŋ] noun the sport of sailing on water while standing on a surfboard with a sail attached

Powerboat [UK] [ˈpaʊəbəʊt] [US] [ˈpaʊərboʊt] noun a fast boat with a powerful engine that is used especially for racing

Rafting [UK] [ˈrɑːftɪŋ] [US] [ˈræftɪŋ] noun the sport or activity of travelling down a river on a raft

Skiing [UK] [ˈskiːɪŋ] [US] [ˈskiːɪŋ] noun the sport or activity of moving over snow on skis

Extreme Sports  noun sports that are extremely exciting to do and often dangerous, for example skydiving and bungee jumping

Extreme [UK] [ɪkˈstriːm] [US] [ɪkˈstriːm] adj. very great in degree

Adrenaline [UK] [əˈdrenəlɪn] [US] [əˈdrenəlɪn] noun a substance produced in the body when you are excited, afraid or angry. It makes the heart beat faster and increases your energy and ability to move quickly

Rush [UK] [rʌʃ] [US] [rʌʃ] noun a sudden feeling of extreme pleasure or excitement

Parachute [UK] [ˈpærəʃuːt] [US] [ˈpærəʃuːt] noun a device that is attached to people or objects to make them fall slowly and safely when they are dropped from an aircraft. It consists of a large piece of thin cloth that opens out in the air to form an umbrella shape

Stand Up   to be on your feet

Wimp Out (of sth) to not do sth that you intended to do because you are too frightened or not confident enough to do it

Get Into Sth   to put on a piece of clothing, especially with difficulty

Get Up   to stand up after sitting, lying, etc.

Harness [UK] [ˈhɑːnɪs] [US] [ˈhɑːrnɪs] noun a set of strips of leather, etc. for fastening sth to a person's body or to keep them from moving off or falling

Free Fall  noun the movement of an object or a person falling through the air without engine power or a parachute

Arch [UK] [ɑːtʃ] [US] [ɑːrtʃ] verb if you arch part of your body, or if it arches, it moves and forms a curved shape

Landing [UK] [ˈlændɪŋ] [US] [ˈlændɪŋ] noun an act of bringing an aircraft or a spacecraft down to the ground after a journey

Tap [UK] [tæp] [US] [tæp] verb if you tap your fingers, feet, etc. or they tap, you hit them gently against a table, the floor, etc, for example to the rhythm of music

Coward [UK] [ˈkaʊəd] [US] [ˈkaʊərd] noun a person who is not brave or who does not have the courage to do things that other people do not think are especially difficult

Breakneck [UK] [ˈbreɪknek] [US] [ˈbreɪknek] adj. very fast and dangerous

Invincible [UK] [ɪnˈvɪnsəbl] [US] [ɪnˈvɪnsəbl] adj. too strong to be defeated or changed

Speechless [UK] [ˈspiːtʃləs] [US] [ˈspiːtʃləs] adj. not able to speak, especially because you are extremely angry or surprised

Pass Out   to become unconscious

Highlight [UK] [ˈhaɪlaɪt] [US] [ˈhaɪlaɪt] noun the best, most interesting or most exciting part of sth

Flash [UK] [flæʃ] [US] [flæʃ] verb to come into your mind suddenly

Thud [UK] [θʌd] [US] [θʌd] noun a sound like the one which is made when a heavy object hits sth else

Heartbeat [UK] [ˈhɑːtbiːt] [US] [ˈhɑːrtbiːt] noun the movement or sound of the heart as it sends blood around the body

Back And Forth from one place to another and back again repeatedly

Proficient [UK] [prəˈfɪʃnt] [US] [prəˈfɪʃnt] adj. able to do sth well because of training and practice

Ladder [UK] [ˈlædə(r)] [US] [ˈlædər] noun a piece of equipment for climbing up and down a wall, the side of a building, etc, consisting of two lengths of wood or metal that are joined together by steps or rungs

Diversity [UK] [daɪˈvɜːsəti] [US] [daɪˈvɜːrsəti] noun a range of many people or things that are very different from each other

Fear [UK] [fɪə(r)] [US] [fɪr] noun the bad feeling that you have when you are in danger, when sth bad might happen, or when a particular thing frightens you

Get Over Sth to deal with or gain control of sth


Unit 3 , Lesson 1

 Repeated actions in the past with 'would'

Use would + verb to talk about habits or repeated events in the past.

 

Glen and I would explore old buildings in the city.

We wouldn't come home until dark.

You can also use used to + verb to talk about habits or repeated events in the past. Notice that used to also emphasizes that a past state no longer exists.


I used to be a troublemaker.

I used to live near the woods.

I used to have a detective hat. I would put it on and solve imaginary crimes.


Language note: Pay attention to context when you're using would for past actions and events. It has the same structure as would for desires, possibilities, advice and future states. For example, notice the difference in meaning between these two sentences:


When I was young, I would hang out with friends at the golf course.

 

REMINISCING

Use expressions like these to reminisce:

Remember when we would make believe that we were married?

Those were the days. I'd swim all summer!

Life was simpler back then.

 

Notice that for past events that only happened once, you can't use would.

Gale took her first step when she was 10 months old. She would walk and fall around each room of the house, and then she'd start again.

I would hang out with friends more if I weren't working so much right now.

I used to have a detective hat. I would put it on and solve imaginary crimes.

When she'd play make-believe with her friends, she would always been.

Level 10, Unit 6, Lesson 3

 Use expressions like these to support (support) someone's opinion.

 I really like that idea.

That's it exactly!

I get it.


Use expressions like these to gently reject (reject) an opinion. Notice that using modals or - ing verbs can help soften the rejection.


Kara would prefer a brighter color scheme.

We're actually thinking of something more minimalist.

Another way to soften a rejection is to add I'm sorry, but.

I'm sorry, but I'd rather go with something more subtle.


Use more dramatic expressions like these to forcefully reject an opinion. Notice that phrases with how and absolutely, and the negative words no and can't stand, are all used for emphasis.

 

Beige wallpaper? How unimaginative!

There's no way I'm buying a lava lamp!

I absolutely cannot stand pastels.


Be careful: Some rejections can actually seem like genuine questions. Listen to the tone and intonation of the following examples, all of which are definitely rejections:

 

Who likes silver wallpaper?

A purple rug? Seriously?

Are you kidding me?

I'm sorry, but I'd rather go with something more subtle.


Talking about increases and decreases

 There are a number of verbs to describe increases. For example:

 

Bad news. Taxes are going up again.

My rent has increased twice in three years.

Oil prices have risen again.

My savings have grown a lot these last few years.

Oil prices have risen again.


There are also a number of verbs to describe decreases. For example:


The cost of transportation has gone down recently.

My savings are decreasing every month. I have to get a better job.

The price of gasoline has fallen again.

Deductions for my retirement plan reduce my salary every month.


Here are ways to describe a situation where there has been no change:


Oil prices remained stable.

There has been no change in the cost of utilities.


We can be more specific describing the changes by modifying the verbs with an adverb. Notice how the adverb can come either before or after the verb.

 

Prices are continually going up.

The cost of living is rapidly increasing.

The cost of technology has gradually decreased.

My taxes have gone up dramatically.

My salary has increased slightly.

Deductions for retirement reduce my salary significantly.



Describing regular expenses

The words daily, weekly, monthly and yearly describe things that happen on a regular schedule.


A monthly budget can help you manage your finances.

We have a weekly meeting in our office.

We pay our rent monthly.

How much do you earn yearly?



Use per or a + time to talk about ongoing income and expenses.

My rent sets me back $1,400 a month.

Her salary is $4,000 per month. That's $48,000 a year.

I pay taxes on my house twice a year.

We get paid two times per month.

   

You can also use the words each and every to describe regular expenses.

   

I pay $2,000 every month in insurance.

Food costs me around $200 each week.

How much do you earn yearly?


Deductions for retirement reduce my salary significantly.





Unit 5, Lesson 3 Disaster verbs

DISASTER VERBS

Use verbs like these to describe disasters:

The fire spread quickly through the forest.
The emergency services did everything they could.
Firefighters eventually managed to control the fire.
Many people donated money to help the survivors.
 
 
Use verbs like these to describe the aftermath. Notice the passive forms.

Over 100 people were killed in the fire.
Many people have been hospitalized.
Thousands of buildings were destroyed.
People have been evacuated from their homes.

REVIEW: ARTICLES

Indefinite articles 'a' and 'an'

Use a and an before a non-specific, singular noun or the adjective that comes before that noun. These articles mean 'one.' Also, use a and an when identifying something.
 
The victims are in a hospital.
Did you feel that shaking? It was an earthquake!
He was killed in an avalanche.
It was an awful disaster.
 
 
Use the indefinite article with there + be.
 
There's been an earthquake.
There was a tornado.


DEFINITE ARTICLE 'THE'

Use the before a specific noun or the adjective that comes before that noun. Use the for unique places and for things that are named, like the Red Cross.
 
My home was destroyed in the flood last year.
They were rescued by the Coast Guard.
The injured victims were hospitalized.

ZERO ARTICLE

No article is used with indefinite plurals and mass nouns.
 
Firefighters came from many different counties.
First vs. subsequent use

Use a and an to introduce a noun the first time it's mentioned. After that, use the.
 
There was a large earthquake in Alaska. The earthquake measured 6.8 on the Richter scale. Luckily, all people in the area were evacuated before the earthquake occurred.

Airplanes were used to drop water on the fire.

People have been evacuated from their homes.

Quoted and reported statements and questions

Use quoted speech inside quotation marks ("or'')  to report exactly what someone said or asked. The verb tense of the quoted speech does not change.

  • He said, 'Let's watch the game.'
  • He asked, 'Could you pay the bill?'
  • I told him, 'No way.'


Use reported speech to paraphrase what someone said. You can keep the verb tense in the present or change it to the past.

  • She said she hated sports.
  • she told me she´s a feminist.


Also use reported speech to paraphrase what someone asked. In the reported question, change the word order to subject + verb and drop the auxiliary verb.

  • 'Why do you like roses?'
  • She asked why I like roses.
  • 'Where do you live?'
  • He asked me where I live.


You can use the narrative present for quoted and reported speech to make a story more current or more dramatic.

  • He says, 'Let's fly to the Bahamas.'
  • So I tell him we need to get to know each other better.
  • She asks me, 'When should we get married?'
  • And I ask her why she's in such a hurry.

  

RHETORICAL QUESTIONS

Use a rhetorical question to draw dramatic attention to your point. When a rhetorical question is asked, an answer is not expected; often the answer is obvious. Use the same structure for a rhetorical question as for a genuine question. Notice the exaggerated intonation used in these rhetorical questions.

  • Who knows? Maybe someday we'll have gender equality.
  • Shouldn't women get equal pay for equal work?
  • Who created these rigid male and female roles?
  • With all their problems, why do men and women bother dating?

Verb To Do Use.

Sentences with the correct form of the verb "to do" in the present tense (do / does). 1. I do my homework every afterno...