In the view of the creation of a personal, technical glossary, I want to give you the first imput by suggesting a extended definition. You will have to guess the short one.
The way speech sounds are produced. Children who mis-articulate sounds usually have difficulties saying sounds such as 's', 'l', 'g', 'k' correctly in words. Articulation problems can be caused by poor listening ability, developmental delay, dental problems, or poor control of the lips and tongue.
martedì 30 novembre 2010
Taking a history
What to ask, how to do it. A short execise
..........................
Match each of the suspected problems in the first column with a suitable ~ question from the second column.
Suspected problem
1 depression
2 cardiac failure
3 asthma
4 prostate
5 coronary thrombosis
6 cancer of the lung
Questions
a) Have you had any pain in your chest?
b) Do you ever get wheezy?
c) What sort of mood have you been in recently?
d) Any problem with your waterworks?
e) Have you ever coughed up blood?
f) Have you had any shortness of breath?
..........................
Match each of the suspected problems in the first column with a suitable ~ question from the second column.
Suspected problem
1 depression
2 cardiac failure
3 asthma
4 prostate
5 coronary thrombosis
6 cancer of the lung
Questions
a) Have you had any pain in your chest?
b) Do you ever get wheezy?
c) What sort of mood have you been in recently?
d) Any problem with your waterworks?
e) Have you ever coughed up blood?
f) Have you had any shortness of breath?
mercoledì 24 novembre 2010
Reading - Arthur Conan Doyle - Medical Tales
Eccovi la descrizione di un medico fatta da Conan Doyle.
Siamo nella seconda metà dell'Ottocento.
--------------------------------------
He is so very much behind the day that occasionally, as things move round in their usual circle, he finds himself, to his bewilderment, in the front of the fashion. Dietetic treatment, for example, had been much in vogue in his youth, and he has more practical knowledge of it than any one whom I have met. Massage, too, was familiar to him when it was new to our generation. He had been trained also at a time when instruments were in a rudimentary state, and when men learned to trust more to their own fingers. He has a model surgical hand, muscular in the palm, tapering in the fingers, "with an eye at the end of each." I shall not easily forget how Dr. Patterson and I cut Sir John Sirwell, the County Member, and were unable to find the stone. It was a horrible moment. Both our careers were at stake. And then it was that Dr. Winter, whom we had asked out of courtesy to be present, introduced into the wound a finger which seemed to our excited senses to be about nine inches long, and hooked out the stone at the end of it. "It's always well to bring one in your waistcoat-pocket," said he with a chuckle, "but I suppose you youngsters are above all that."
Siamo nella seconda metà dell'Ottocento.
--------------------------------------
He is so very much behind the day that occasionally, as things move round in their usual circle, he finds himself, to his bewilderment, in the front of the fashion. Dietetic treatment, for example, had been much in vogue in his youth, and he has more practical knowledge of it than any one whom I have met. Massage, too, was familiar to him when it was new to our generation. He had been trained also at a time when instruments were in a rudimentary state, and when men learned to trust more to their own fingers. He has a model surgical hand, muscular in the palm, tapering in the fingers, "with an eye at the end of each." I shall not easily forget how Dr. Patterson and I cut Sir John Sirwell, the County Member, and were unable to find the stone. It was a horrible moment. Both our careers were at stake. And then it was that Dr. Winter, whom we had asked out of courtesy to be present, introduced into the wound a finger which seemed to our excited senses to be about nine inches long, and hooked out the stone at the end of it. "It's always well to bring one in your waistcoat-pocket," said he with a chuckle, "but I suppose you youngsters are above all that."
Parts of the body how to describe problems
Cominciamo ad immergerci nella terminologia tecnica.
Domani ne parleremo più diffusamente
::::::::::::::::::::::::::::::::
giovedì 18 novembre 2010
Doll's House vs Dollhouse
ecco qua una definizione di dollhouse (ovviamente il contesto è americano)
ma confrontiamo anche con A Doll's House, che invece ha radici europee e late 19th century.
ma confrontiamo anche con A Doll's House, che invece ha radici europee e late 19th century.
Street Yarn
by Walt Whitman
Soldiers and militiamen are not the only people who wear uniforms. A uniform serves two purposes; first, to distinguish the wearers from others, and secondly, to assimilate them to each other. The universal uniform is more for the former of these than the latter; and is not only the style and substance of garments, but appearance and carriage. Come and walk in New York streets, or sit in a restaurant; we will detect some people for you by their uniforms.
Mild, foolish, dough-colored, simpering face; black cloth suit-shad-bellied, single-breasted coat, with low standing collar all round, vest buttoned close to throat, knees a little bent, toes turned out, and chin down. Episcopalian deacon.
Wild cataract of hair; absurd, bunged-up felt hat, with peaked crown; velvet coat, all friggled over with a gimp, but worn; eyes rather staring, looking upward. Third-rate artist.
Dress strictly respectable; hat well down on forehead; face thin, dry, close-shaven; mouth with a gripe like a vice; eyes sharp and quick; brows bent; forehead scowling; step jerky and bustling. Wall Street banker.
Hands crossed behind him; step slow; dress well enough, but careless all over; face bent downward, and full of thought. Leading lawyer.
Rusty black costume; white choker; look oddly compounded of severity, superiority, curiosity, apprehension, and suspicion; shoulders stooping, chest flat. Country clergyman.
Half-dozen ill-dressed fellows together (this is in the evening); dirty, unshorn faces; debauched expression; the half-shut eyes, and loose, hanging lips of the tribe; hoarse voices, incredibly tuneless; oaths and curses; laughs made up of a yell and a cackle; a peculiar quick, eager step, as they flock along close together. Short boys; damnable dangerous villains.
Dirty finery, excessively plentiful; paint, both red and white; draggle-tailed dress, ill-fitting; coarse features, unintelligent; bold glance; questioning, shameless, perceptibly anxious; hideous croak or dry brazen ring in voice; affected, but awkward, mincing, waggling gait. Harlot.
Heavy moustache; obtrusively expensive dress; big breast pin; heavy gold chain; rings; hat down over brows; loafing attitude on corner; eye furtive, glassy, expressionless; oaths; tobacco-spit. Gambler.
There, somewhat in that manner, you may learn even to distinguish the trades from each other. But now let us sketch individuals. We are sitting, we will suppose, in the St. Nicholas front windows, or standing in front of Delmonico's, or anywhere in a thoroughfare. The crowd flows; among it goes, now and then, one of the following:
A tall, slender man, round-shouldered, chin stuck out, deep-set eyes, sack-coat. His step is quick, and his arms swing awkwardly, as if he were trying to knock his elbows together behind him. Albert Brisbane the Socialist; the capitalist, too--an odd circumstance for a radical in New York! Somehow or other, he always looks as if he were attempting to think out some problem a little too hard for him.
Old gentleman in carriage. A well-built, portly old man, full, ruddy face, abundant wavy--almost frizzly--white hair, good forehead, kindly, intelligent look. Dr. Francis, the encyclopaedia of historical information, especially in local history and genealogy.
Tall, large, rough-looking man, in a journeyman carpenter's uniform. Coarse, sanguine complexion; strong, bristly, grizzled beard; singular eyes, of a semi-transparent, indistinct light blue, and with that sleepy look that comes when the lid rests half way down over the pupil; careless, lounging gait. Walt Whitman, the sturdy, self-conscious microcosmic prose-poetical author of that incongruous hash of mud and gold--"Leaves of Grass."
-----------------------------------
link al saggio >>
----------------------------------
provate a fare un elenco dei personaggi withmaninani e a descriverli in altre parole, con la terminologia che avete a disposizione. potete imitare la tecnica (compound words, ad esempio) ma non ricopiare
provate a fare una descrizione di caratteri (nel senso di personaggi) che conoscete imitando withman
i più audaci possono anche disegnare!
Soldiers and militiamen are not the only people who wear uniforms. A uniform serves two purposes; first, to distinguish the wearers from others, and secondly, to assimilate them to each other. The universal uniform is more for the former of these than the latter; and is not only the style and substance of garments, but appearance and carriage. Come and walk in New York streets, or sit in a restaurant; we will detect some people for you by their uniforms.
Mild, foolish, dough-colored, simpering face; black cloth suit-shad-bellied, single-breasted coat, with low standing collar all round, vest buttoned close to throat, knees a little bent, toes turned out, and chin down. Episcopalian deacon.
Wild cataract of hair; absurd, bunged-up felt hat, with peaked crown; velvet coat, all friggled over with a gimp, but worn; eyes rather staring, looking upward. Third-rate artist.
Dress strictly respectable; hat well down on forehead; face thin, dry, close-shaven; mouth with a gripe like a vice; eyes sharp and quick; brows bent; forehead scowling; step jerky and bustling. Wall Street banker.
Hands crossed behind him; step slow; dress well enough, but careless all over; face bent downward, and full of thought. Leading lawyer.
Rusty black costume; white choker; look oddly compounded of severity, superiority, curiosity, apprehension, and suspicion; shoulders stooping, chest flat. Country clergyman.
Half-dozen ill-dressed fellows together (this is in the evening); dirty, unshorn faces; debauched expression; the half-shut eyes, and loose, hanging lips of the tribe; hoarse voices, incredibly tuneless; oaths and curses; laughs made up of a yell and a cackle; a peculiar quick, eager step, as they flock along close together. Short boys; damnable dangerous villains.
Dirty finery, excessively plentiful; paint, both red and white; draggle-tailed dress, ill-fitting; coarse features, unintelligent; bold glance; questioning, shameless, perceptibly anxious; hideous croak or dry brazen ring in voice; affected, but awkward, mincing, waggling gait. Harlot.
Heavy moustache; obtrusively expensive dress; big breast pin; heavy gold chain; rings; hat down over brows; loafing attitude on corner; eye furtive, glassy, expressionless; oaths; tobacco-spit. Gambler.
There, somewhat in that manner, you may learn even to distinguish the trades from each other. But now let us sketch individuals. We are sitting, we will suppose, in the St. Nicholas front windows, or standing in front of Delmonico's, or anywhere in a thoroughfare. The crowd flows; among it goes, now and then, one of the following:
A tall, slender man, round-shouldered, chin stuck out, deep-set eyes, sack-coat. His step is quick, and his arms swing awkwardly, as if he were trying to knock his elbows together behind him. Albert Brisbane the Socialist; the capitalist, too--an odd circumstance for a radical in New York! Somehow or other, he always looks as if he were attempting to think out some problem a little too hard for him.
Old gentleman in carriage. A well-built, portly old man, full, ruddy face, abundant wavy--almost frizzly--white hair, good forehead, kindly, intelligent look. Dr. Francis, the encyclopaedia of historical information, especially in local history and genealogy.
Tall, large, rough-looking man, in a journeyman carpenter's uniform. Coarse, sanguine complexion; strong, bristly, grizzled beard; singular eyes, of a semi-transparent, indistinct light blue, and with that sleepy look that comes when the lid rests half way down over the pupil; careless, lounging gait. Walt Whitman, the sturdy, self-conscious microcosmic prose-poetical author of that incongruous hash of mud and gold--"Leaves of Grass."
-----------------------------------
link al saggio >>
----------------------------------
provate a fare un elenco dei personaggi withmaninani e a descriverli in altre parole, con la terminologia che avete a disposizione. potete imitare la tecnica (compound words, ad esempio) ma non ricopiare
provate a fare una descrizione di caratteri (nel senso di personaggi) che conoscete imitando withman
i più audaci possono anche disegnare!
mercoledì 17 novembre 2010
lunedì 15 novembre 2010
Eye Anomalies as Diagnostic Indicators of Communication Disorders
un articolo trovato sul net.
per ora solo l'introduzione.
vi chiedo di fare un elenco delle informazioni utili che riuscire ad isolare, sia in termini di regole grammaticali che di informazioni tecniche. vi metto in neretto alcune forme o espressioni che potranno essere fonte per discussione in classe.
Although eyes occupy a prominent position in the human face, the information they can provide about presence of communication disorders often goes unnoticed during an oral-facial examination. Many speech-language pathologists (SLPs) associate eye examination with vision testing, and rightly believe that vision assessment does not fall within the responsibilities of a speech-language pathologist. Visual acuity, however, is only one aspect of eye examination. Eye orientation, color, and appearance can provide useful diagnostic information as to presence and type of communication disorders, particularly those disorders having hearing loss as a component. Observation of external eye appearance can yield information about health conditions such as otosclerosis; neurological disorders like Wilson’s disease; first arch and mid-face anomalies including Treacher Collins and Crouzon; hearing loss due to genetic conditions like Waardenburg syndrome; and dual sensory disorders, such as CHARGE syndrome. This article describes several diagnostically significant anomalies of eye structure, but does not address anomalies of eye function, disorders of visual acuity, or eye muscle-related problems. This article also describes the relationships between external eye appearance and communication disorders, and suggests a simple protocol for observing, treating, and referring patients with eye anomalies.
trovate qui il resto dell'articolo
per ora solo l'introduzione.
vi chiedo di fare un elenco delle informazioni utili che riuscire ad isolare, sia in termini di regole grammaticali che di informazioni tecniche. vi metto in neretto alcune forme o espressioni che potranno essere fonte per discussione in classe.
Although eyes occupy a prominent position in the human face, the information they can provide about presence of communication disorders often goes unnoticed during an oral-facial examination. Many speech-language pathologists (SLPs) associate eye examination with vision testing, and rightly believe that vision assessment does not fall within the responsibilities of a speech-language pathologist. Visual acuity, however, is only one aspect of eye examination. Eye orientation, color, and appearance can provide useful diagnostic information as to presence and type of communication disorders, particularly those disorders having hearing loss as a component. Observation of external eye appearance can yield information about health conditions such as otosclerosis; neurological disorders like Wilson’s disease; first arch and mid-face anomalies including Treacher Collins and Crouzon; hearing loss due to genetic conditions like Waardenburg syndrome; and dual sensory disorders, such as CHARGE syndrome. This article describes several diagnostically significant anomalies of eye structure, but does not address anomalies of eye function, disorders of visual acuity, or eye muscle-related problems. This article also describes the relationships between external eye appearance and communication disorders, and suggests a simple protocol for observing, treating, and referring patients with eye anomalies.
trovate qui il resto dell'articolo
giovedì 11 novembre 2010
A Hard Rain's Gonna Fall
Vi propongo una canzone con due tipi di passato: present perfect e past simple.
e una domanda: perché dylan usa una volta uno e una volta l'altro? con che logica (se c'è)?
Oh, where have you been, my blue-eyed son ?
And where have you been my darling young one ?
I've stumbled on the side of twelve misty mountains
I've walked and I've crawled on six crooked highways
I've stepped in the middle of seven sad forests
I've been out in front of a dozen dead oceans
I've been ten thousand miles in the mouth of a graveyard
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
Oh, what did you see, my blue eyed son ?
And what did you see, my darling young one ?
I saw a newborn baby with wild wolves all around it
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin'
I saw a room full of men with their hammers a-bleedin'
I saw a white ladder all covered with water
I saw ten thousand talkers whose tongues were all broken
I saw guns and sharp swords in the hands of young children
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
And what did you hear, my blue-eyed son ?
And what did you hear, my darling young one ?
I heard the sound of a thunder, it roared out a warnin'
I heard the roar of a wave that could drown the whole world
I heard one hundred drummers whose hands were a-blazin'
I heard ten thousand whisperin' and nobody listenin'
I heard one person starve, I heard many people laughin'
Heard the song of a poet who died in the gutter
Heard the sound of a clown who cried in the alley
And it's a hard, it's a hard, it's a hard, it's a hard
And it's a hard rain's a-gonna fall.
Oh, who did you meet my blue-eyed son ?
Who did you meet, my darling young one ?
I met a young child beside a dead pony
I met a white man who walked a black dog
I met a young woman whose body was burning
I met a young girl, she gave me a rainbow
I met one man who was wounded in love
I met another man who was wounded in hatred
And it's a hard, it's a hard, it's a hard, it's a hard
And it's a hard rain's a-gonna fall.
And what'll you do now, my blue-eyed son ?
And what'll you do now my darling young one ?
I'm a-goin' back out 'fore the rain starts a-fallin'
I'll walk to the depths of the deepest black forest
Where the people are a many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
Where the executioner's face is always well hidden
Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I'll tell and think it and speak it and breathe it
And reflect it from the mountain so all souls can see it
Then I'll stand on the ocean until I start sinkin'
But I'll know my songs well before I start singin'
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
la versione di edie brickell (una decente di dylan non l'ho trovata)
e una domanda: perché dylan usa una volta uno e una volta l'altro? con che logica (se c'è)?
Oh, where have you been, my blue-eyed son ?
And where have you been my darling young one ?
I've stumbled on the side of twelve misty mountains
I've walked and I've crawled on six crooked highways
I've stepped in the middle of seven sad forests
I've been out in front of a dozen dead oceans
I've been ten thousand miles in the mouth of a graveyard
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
Oh, what did you see, my blue eyed son ?
And what did you see, my darling young one ?
I saw a newborn baby with wild wolves all around it
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin'
I saw a room full of men with their hammers a-bleedin'
I saw a white ladder all covered with water
I saw ten thousand talkers whose tongues were all broken
I saw guns and sharp swords in the hands of young children
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
And what did you hear, my blue-eyed son ?
And what did you hear, my darling young one ?
I heard the sound of a thunder, it roared out a warnin'
I heard the roar of a wave that could drown the whole world
I heard one hundred drummers whose hands were a-blazin'
I heard ten thousand whisperin' and nobody listenin'
I heard one person starve, I heard many people laughin'
Heard the song of a poet who died in the gutter
Heard the sound of a clown who cried in the alley
And it's a hard, it's a hard, it's a hard, it's a hard
And it's a hard rain's a-gonna fall.
Oh, who did you meet my blue-eyed son ?
Who did you meet, my darling young one ?
I met a young child beside a dead pony
I met a white man who walked a black dog
I met a young woman whose body was burning
I met a young girl, she gave me a rainbow
I met one man who was wounded in love
I met another man who was wounded in hatred
And it's a hard, it's a hard, it's a hard, it's a hard
And it's a hard rain's a-gonna fall.
And what'll you do now, my blue-eyed son ?
And what'll you do now my darling young one ?
I'm a-goin' back out 'fore the rain starts a-fallin'
I'll walk to the depths of the deepest black forest
Where the people are a many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
Where the executioner's face is always well hidden
Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I'll tell and think it and speak it and breathe it
And reflect it from the mountain so all souls can see it
Then I'll stand on the ocean until I start sinkin'
But I'll know my songs well before I start singin'
And it's a hard, it's a hard, it's a hard, and it's a hard
It's a hard rain's a-gonna fall.
la versione di edie brickell (una decente di dylan non l'ho trovata)
domenica 7 novembre 2010
I still haven't found what I'm looking for
La canzone degli U2 a cui avevo accennato in classe
e il testo
I have climbed highest mountains
I have run through the fields
Only to be with you
Only to be with you
I have run
I have crawled
I have scaled these city walls
These city walls
Only to be with you
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
I have kissed honey lips
Felt the healing in her fingertips
It burned like a fire
This burning desire
I have spoke with the tongue of angels
I have held the hand of a devil
It was warm in the night
I was cold as a stone
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
I believe in the Kingdom Come
Then all the colors will bleed into one
Bleed into one
But yes I'm still running
You broke the bonds
And you loosed the chains
Carried the cross
Of my shame
Oh my shame
You know I believe it
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
e il testo
I have climbed highest mountains
I have run through the fields
Only to be with you
Only to be with you
I have run
I have crawled
I have scaled these city walls
These city walls
Only to be with you
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
I have kissed honey lips
Felt the healing in her fingertips
It burned like a fire
This burning desire
I have spoke with the tongue of angels
I have held the hand of a devil
It was warm in the night
I was cold as a stone
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
I believe in the Kingdom Come
Then all the colors will bleed into one
Bleed into one
But yes I'm still running
You broke the bonds
And you loosed the chains
Carried the cross
Of my shame
Oh my shame
You know I believe it
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
But I still haven't found what I'm looking for
venerdì 5 novembre 2010
past simple or past continuous
per chi volesse continuare ad esercitarsi...
Put the verbs in brackets into the past simple or past continuous
Here he was (be), Davey Stark, the big rock star. It 2 ........................... (be) the
end of an exhausting two-hour concert. The fans 3 ........................... (scream)
and 4 ........................... (shout). They ........................... (want) Davey, their
hero. His face 6 ........................... (pour) with sweat, his hair 7 .......................... .
(drip) and his heart 8 ........................... (thump) violently. But he
9 .......................... (love) these moments at the end of a concert. He always
10 .......................... (feel) powerful and in control. He 11 .......................... .
(decide) to do one more song for the crowd: one of his most popular. When he
12 ........................... (start) singing, the crowd 13 ........................... (go) wild. By
the end of the song, they 14 ........................... (all/dance) and 15 .......................... .
(clap) their hands. When Davey 16 ........................... (leave) the stage, he
17 ........................... (be) exhausted but exhilarated. But when he
18 ........................... (get back) to the dressing room, he 19 ......................... ..
(open) the door and 20 ........................... (see) that two men 21 .......................... .
(wait) for him. They 22 ........................... (lock) the door behind Davey. He
23 ........................... (shout) for his bodyguard Bernard, but no-one
24 ........................... (come). The two men 25 ........................... (tie) his hands
behind his back, 26 ........................... (blindfold) and 27 ........................... (gag)
him. Davey 28 ........................... (can hear) Bernard in the next room. Bernard
29 ........................... (talk) to someone and he 30 ........................... (say) terrible
things about Davey. He 31 ........................... (say) that Davey 32 ......................... ..
(deserve) it. 33 ........................... (Deserve) what? What 34 ......................... ..
(he/mean)? What 35 ........................... (go on)? Why 36 ........................... (not
someone tell) him what 37 ............................ (happen)?
Put the verbs in brackets into the past simple or past continuous
Here he was (be), Davey Stark, the big rock star. It 2 ........................... (be) the
end of an exhausting two-hour concert. The fans 3 ........................... (scream)
and 4 ........................... (shout). They ........................... (want) Davey, their
hero. His face 6 ........................... (pour) with sweat, his hair 7 .......................... .
(drip) and his heart 8 ........................... (thump) violently. But he
9 .......................... (love) these moments at the end of a concert. He always
10 .......................... (feel) powerful and in control. He 11 .......................... .
(decide) to do one more song for the crowd: one of his most popular. When he
12 ........................... (start) singing, the crowd 13 ........................... (go) wild. By
the end of the song, they 14 ........................... (all/dance) and 15 .......................... .
(clap) their hands. When Davey 16 ........................... (leave) the stage, he
17 ........................... (be) exhausted but exhilarated. But when he
18 ........................... (get back) to the dressing room, he 19 ......................... ..
(open) the door and 20 ........................... (see) that two men 21 .......................... .
(wait) for him. They 22 ........................... (lock) the door behind Davey. He
23 ........................... (shout) for his bodyguard Bernard, but no-one
24 ........................... (come). The two men 25 ........................... (tie) his hands
behind his back, 26 ........................... (blindfold) and 27 ........................... (gag)
him. Davey 28 ........................... (can hear) Bernard in the next room. Bernard
29 ........................... (talk) to someone and he 30 ........................... (say) terrible
things about Davey. He 31 ........................... (say) that Davey 32 ......................... ..
(deserve) it. 33 ........................... (Deserve) what? What 34 ......................... ..
(he/mean)? What 35 ........................... (go on)? Why 36 ........................... (not
someone tell) him what 37 ............................ (happen)?
giovedì 4 novembre 2010
What is grammar for...
ecco il link al divertente estratto dal film Life of Brian, dei Monty Python.
di seguito il transcript della scena
Monty Python's "Life of Brian" (Romanes eunt domus...)
- What's this, then? "Romanes eunt domus"? "People called Romanes, they go the house"?
- It says, "Romans go home".
- No, it doesn't. What's Latin for "Roman"? Come on.
- Romanus?
- Goes like...?
- Anus?
- Vocative plural of "anus" is...?
- Ani?
- Romani.
- "Eunt"? What is eunt?
- "Go".
- Conjugate the verb "to go".
- Ere, eo, is, it, imus, itis, eunt.
- So "eunt" is...?
- Third person plural, present indicative. "They go".
- But "Romans go home" is an order, so you must use the...?
- Imperative!
- Which is...?
- Oh, "i".
- How many Romans?
- Plural, plural. "Ite", "Ite"!
- "Ite".
- "Domus"? Nominative?
- "Go home". This is motion towards, isn't it, boy?
- Dative! Not dative, not the dative, sir! The accusative! Accusative! "Domum", sir! "Ad domum".
- Except that "domus" takes the...?
- The locative, sir.
- Which is...?
- "Domum"!
- "Domum".
- Understand?
- Yes, sir!
- Now, write that 100 times.
- Yes, sir. Thank you. Hail Ceasar, sir.
- Hail Ceasar. If it's not done by sunrise, I'll cut your balls off.
- Oh, thank you, sir. Thank you, sir. Hail Ceasar and everything, sir.
- Finished...
- Right. Now, don't do it again!
di seguito il transcript della scena
Monty Python's "Life of Brian" (Romanes eunt domus...)
- What's this, then? "Romanes eunt domus"? "People called Romanes, they go the house"?
- It says, "Romans go home".
- No, it doesn't. What's Latin for "Roman"? Come on.
- Romanus?
- Goes like...?
- Anus?
- Vocative plural of "anus" is...?
- Ani?
- Romani.
- "Eunt"? What is eunt?
- "Go".
- Conjugate the verb "to go".
- Ere, eo, is, it, imus, itis, eunt.
- So "eunt" is...?
- Third person plural, present indicative. "They go".
- But "Romans go home" is an order, so you must use the...?
- Imperative!
- Which is...?
- Oh, "i".
- How many Romans?
- Plural, plural. "Ite", "Ite"!
- "Ite".
- "Domus"? Nominative?
- "Go home". This is motion towards, isn't it, boy?
- Dative! Not dative, not the dative, sir! The accusative! Accusative! "Domum", sir! "Ad domum".
- Except that "domus" takes the...?
- The locative, sir.
- Which is...?
- "Domum"!
- "Domum".
- Understand?
- Yes, sir!
- Now, write that 100 times.
- Yes, sir. Thank you. Hail Ceasar, sir.
- Hail Ceasar. If it's not done by sunrise, I'll cut your balls off.
- Oh, thank you, sir. Thank you, sir. Hail Ceasar and everything, sir.
- Finished...
- Right. Now, don't do it again!
mercoledì 3 novembre 2010
La grammatica
Per un testo di riferimento di base si può scegliere tra varie grammatiche di self-study, ossia con ampie spiegazioni e key in fine di libro.
Un classico è English Grammar in Use di Raymond Murphy edito da Cambridge.
Una versione molto basic si trova a>> http://englishgrammarinuse.net
Sempre di Cambridge sono poi un utile riferimento i testi della serie "In Use" come il vocabulary >> http://www.cambridge.org/it/elt/catalogue/subject/custom/item2701511/in-Use-Vocabulary/?site_locale=it_IT
oppure, per i più pignoli, anche il pronunciation >>http://www.cambridge.org/it/elt/catalogue/subject/custom/item2701512/in-Use-Pronunciation/?site_locale=it_IT
Un classico è English Grammar in Use di Raymond Murphy edito da Cambridge.
Una versione molto basic si trova a>> http://englishgrammarinuse.net
Sempre di Cambridge sono poi un utile riferimento i testi della serie "In Use" come il vocabulary >> http://www.cambridge.org/it/elt/catalogue/subject/custom/item2701511/in-Use-Vocabulary/?site_locale=it_IT
oppure, per i più pignoli, anche il pronunciation >>http://www.cambridge.org/it/elt/catalogue/subject/custom/item2701512/in-Use-Pronunciation/?site_locale=it_IT
Iscriviti a:
Post (Atom)