Ebook advanced speaking skills

It should be impressed on them , therefore, th at the aim o f the course is for them to be able to produce the language accurately and fluently, and th at they should have the ability to

8c John Anold

P art O n e : Greetings and introductions 1

Part T w o : Personal interests 6

Part T h re e : Likes and dislikes 10

Part O n e : Moods 18

Part T w o : Congratulations, regrets, reacting to news 21

P art O n e : Social plans 25

Part Tw o: Invitations 27

Part T hree A : Suggestions 32

P art Three B : Alternative suggestions 35

P art Four: Choice and preference 38

Part O n e : Apologies and excuses 47

Part T w o : Apologising for changing future plans 49

Part T h re e : Attack and response 64

P art F o u r: Suggesting courses of action 71

Part O n e : Changing the subject, reinforcement, interrupting, balancing arguments

P art T w o : M aking a point more accurate, illustrating a point, M aking sure th at you have understood correctly 84

Part O ne A : Advice 87

Part O ne B : Taking advice 90

P art Two A : Offers 93

Part Two B : Unwillingness and indifference 96

B ooklet: Language C harts and K ey (in back cover)

xvii

81

w riting and revising of this book In particular we would like to thank the

principal and teachers of Eurocentre Bournem outh, especially R ay Bell, Peter Lucantoni and Roger Scott We would like to record our gratitude as well to the num erous students whose comments were invaluable T o the teachers and

friends who helped us w ith some of the recording sessions, m any thanks

T hroughout the w riting of this course w£ have been helped im m easurably by Leila K eane of the Longm an Resource and Developm ent U nit, and w ithout the num erous typings and retypings by H eather W oodley and M ary Parsa this book

ju st would not have been possible

W J.A

Like its com panion volume Advanced Writing Skills, the present book focusses on the needs of the learner at the advanced level A t this level, gram m atical

accuracy alone is simply not enough for successful com m unication, particularly

in speech

Advanced Speaking Skills takes as its keynote the concept of appropriateness - the choice o f language according to such factors as to whom one is speaking, the moods of the speakers, etc T he book thus opens up to the advanced learner the opportunity of better reflecting his own attitudes and reacting to those of others

T he accom panying tape, as well as providing intonation models, is designed to help the learner become better aw are o f the nuances of attitude which are an ever-present feature of com m unication

T he book is designed so th at - after com pleting the Introductory Section — the

whole book, or even whole sections, in a linear way As each p a rt is self-

contained moving from controlled through to free and individual production of appropriate language the book can serve also as excellent supplem entary

m aterial to m ore traditional advanced course books

As w ith previous E urocentre publications - this being the eleventh in the series - the m aterial has been thoroughly tested in the classroom, and we believe th at this book can add a valuable dimension of reality to the teaching and learning of English by adults at the advanced level

Erh J C W aespi,

Director o f the Foundation

fo r European Language and

Education Centres

a d v a n c e d s p e a k i n g s k i l l s , like its com panion course a d v a n c e d w r i t i n g

s k i l l s , is concerned with w hat we w ant to do w ith the lan g u ag e; for example, to

can give advice in English, e.g I f I were you, I ’d , Personally, I think your best course would be to etc T he way we choose to say som ething will depend on our

attitude to the person or people who we are speaking to A m ain concern of this

expresses our attitude appropriately, i.e showing th at we are being <(polite>,

<[informal)>, <[tentative]> and so on

T he course

T he course is designed for students who have either passed the C am bridge First Certificate exam ination or successfully com pleted an equivalent course of study

By the end of the course, successful students should be able to use the language

situation they are in Such students will be in a position to take the O ral p aper of the C am bridge Certificate of Proficiency after further training in the specific techniques necessary for th at p a rt of the exam ination

A booklet containing L anguage C harts and a Key

An A ccom panying T ape or Cassette

S E C T I O N S

In addition to the Introductory Section, there are four m ajor Sections in this course Each Section concerns itself w ith a large area of language activity Each Section is divided into Parts, which look at a m ore specific language area For

to help others with problems, or to ask for help w hen we have problems

ourselves T he two parts o f Section Four are (1) Asking fo r and Giving Advice and (2) Offers. In P art O ne we look at the language we use when advice is needed, and in Part Tw o we look at the language we use when we wish to offer to help

Vll

possible interactions in the following w a y :

We can say th at it is likely th at a conversation will follow one of these lines

I N T E R S E C T I O N S

T here are three Intersections in the course, whose design differs, in some

respects, from th at of the Sections We have seen (above) th at Sections are concerned w ith situations in which we can predict w hat lines a conversation is likely to follow As it is often very difficult to do th at w ith language, the

Intersections look at areas which do not necessarily form the basis for

predictable language interactions — for example, it is very difficult to predict

w hat will happen when someone wishes to interrupt Nevertheless, the language

in the Intersections is grouped functionally so th at Intersection C, for example,

is called l i n k i n g s i g n a l s i n s p e e c h and deals w ith the functions of

Interrupting, Changing the Subject, etc

a) Language Presentation, which includes:

A D iagram m atic R epresentation o f the Language Interaction

M odel Conversations

Language C harts (in the booklet in the back cover)

b) Controlled Practice, which includes:

M anipulation Drills

Cast Conversations

Faded Dialogues

T he following publications have been particularly useful in the preparation of this b o o k :

Wilkins, D A., Linguistics in Language Teaching, E dw ard Arnold, 1972

Europe 1975

In troduction to students

This book is designed for students who have passed the C am bridge First

Certificate exam ination or who have done a course to about the same level T he aim o f the book is to help you to converse fluently and appropriately in English You should know w hat kind of language to use in certain situations Do you use the same language w ith a friend as you do w ith a complete stranger? Probably not, and it is the aim of this book to show you when to use certain types of

language, and how to use them

It is absolutely essential that you should study the Introductory Section (pages xvii—xxii)

before starting the course. It explains how we choose the language we use, and it

ix

S E C T IO N S A N D I N T E R S E C T I O N S

T he course is divided into four m ain Sections and three Intersections Each Section and Intersection contains more than one Part Each P art contains:

diagram and in a M odel Conversation) and the appropriate language to use (in a ch art which appears in the booklet in the back cover)

the practice here is very controlled so th at you can become fluent in using the forms (the gram m ar) of the language

be asked to imagine yourself in various situations, and you will have to choose the most appropriate language to use

In addition, each Section contains:

Section You will be asked to take part, with the rest of the class, in a realistic situation in which you will need to use the language th at you have studied

English people are using the same area of language th at has been covered in the Section

T H E T A P E O R C A S S E T T E

This contains:

P art of each Section or Intersection

in each Part These answers can be used as models for pronunciation practice

language which you are studying

T each er’s handling notes

I N T R O D U C T I O N

T he m ain aims of this book are to increase the students’ oral comm unicative ability, and to enable the students to choose ways of saying things which are appropriate to different situations T h e m ajority of the practice is designed to enable the students to learn how to be more, or less, polite in using the

functional language they are studying It isfor this reason that the Introductory Section (pages xvii-xxii) is so important, since it sets out not only the design o f the course, but also

T he language and the language functions in the course will not seem unfam iliar

to m any of the students for whom this course is designed It should be impressed

on them , therefore, th at the aim o f the course is for them to be able to produce the language accurately and fluently, and th at they should have the ability to vary the ways they perform a certain language function appropriately according

to the situation they find themselves in

As has already been stated in the G eneral Introduction, the course is designed in such a way as to give the teacher flexibility: it is not designed so th at a teacher

of linear approach m ight well be counter-productive T he individual Parts of the Sections and Intersections can be studied in isolation In other words, where

a class is non-intensive, it w ould be possible to complete the m aterial of one P art

in two and a h alf hours of a week Since each Part ends with some form of Free Practice, the completion o f a P art would be a realistic objective for both teacher and students

H A N D L IN G N O T E S

(Teachers need not necessarily follow the order in which the various exercises and practices occur A diagram showing two possible schemes of presentation and practice occurs at the end of these H andling Notes on pages xiv-xv.)

[ a ] l a n g u a g e p r e s e n t a t i o n

Students’ attention should be draw n to the different directions in which a conversation could go

Students should be asked to identify the language th at the characters use to perform their p a rt of the language interaction (see 1 above)

3 Language Items

T he students should look a t the charts (in the booklet in the back cover), and the teacher should point out any areas of p articu lar gram m atical

difficulty, for exam ple in the question could you give me some advice about

be draw n to it H eavily stressed words should also be pointed out (they will

be underlined), for exam ple Fm not particularly keen on .

especially on the correctness of the form and the stress and intonation.

Teachers fortunate enough to have class tape recorders will find the

accom panying tape or cassette particularly useful here O n the tape, there

is a pause before the correct m odel is given so th at the M anipulation Drills can be used as laboratory m aterial, or the teacher can conduct these drills with the use of a tape recorder

2 Cast Conversations

This exercise is especially useful as preparatory homework, but it can also

be used as pair work or w ith the whole class H ere the students have to

teacher should ask them to justify their choice, since in some cases it will not be possible to say th at one of the characters could use only, for example,

(tentative') language

3 Faded Dialogues (Intersections only)

It is suggested th at these can be done with the whole class

[c] S I T U A T I O N A L P R A C T I C E

1 Interaction Writing

This exercise has been designed w ith pair work (or small-group work) in mind Students can work through the items, and then they can write one or more of the short dialogues At this stage they should be encouraged to operate w ithout reference to the C harts unless they really have to They

dialogues can be acted out in class This exercise could also be set as a small homework task

appropriately

4 Situational Responses (Intersections only)

I t is suggested th at these should be done with the whole class W here

students are hoping, eventually, to attem p t the Cam bridge Certificate of Proficiency it can be pointed out th at these Situational Responses are very similar to those occurring in th at exam ination

5 Free Practice

T he Free Practice phases in the course take a variety of different forms

T hey m ay involve the whole class or groups o f students H ere (and in the

produce the language from the P art freely In terruption, in the form of correction, m ight im pede this autonom y T here will, however, be some cases where a teacher will feel obliged to interrupt, b u t this should be the exception rath er than the rule In some cases it m ay be necessary for the teacher to be a discussion leader, or at least to prom pt the students A list of mistakes can be m ade by the teacher and this list can be referred to after the Free Practice phase is finished.

6 Flashback Dialogues (Intersections only)

These are best used as p air work or as homework Students m ight be

encouraged to act out the dialogues before or after w riting them

It will be the teacher’s responsibility to prepare the class for the Role

Sim ulation H e should explain this situation thoroughly to the students and

be sure th a t they understand it fully before he assigns roles In most cases the students should prepare, either in or outside the class For exam ple in Section

T hree, at the end of P art T hree, there is a Role Sim ulation in which an

im aginary town council is trying to decide betw een three rival plans T he teacher should explain the situation and then p ut the students into groups favouring one plan or another In the case of those whose roles commit them

to a particular plan, the group should plan argum ents in favour of their plan and against the others In the case of those who are, as yet, uncom m itted, the group should prepare argum ents against the three plans an d /o r argum ents in favour of the plan they support an d /o r argum ents in favour of a plan they themselves dream up W hen it comes to the actual Role Sim ulation, the

teacher m ay have to take the p art of the chairm an, so th at he or she can be in control of the situation and can help to ensure th at all the students are given a chance to join in However, if a student can perform this role successfully, all the better T he Role Simulations can be particularly useful and m otivating if they are recorded, either with a video or with a tape recorder In this way the students can see how well they perform and w hat progress they are making

xiii

language they have studied in the wider context o f authentic English - th at is

in conversations in which real English people are not restricted in any way in their use of the language It is suggested th at these passages are particularly useful as back-up and revision m aterial

For each Extensive Listening phase there are three types of comprehension

euphemism for inferring feelings and attitudes) asks the students to make inferences about the speakers’ attitudes These True/False questions are designed as discussion points; more im portant than w hether a student thinks the answer is true or false are his or her reasons for so thinking O ften these reasons will depend on the items o f language th at are used, so th at the

questions focus attention, yet again, on the language from the Section to which the Listening Phase relates These Listening Phases are designed for classroom use, but they can equally well be used in the Language L aboratory, and, since there are suggested answers to all the questions in the Key, they can be used by the student working alone

t h e t a p e o r c a s s e t t e

In addition to the Extensive Listening, the taped m aterial contains the M odel Conversations and the M anipulation Drills T he M odel Conversations can be used either to introduce the Function th at is to be studied, or to exemplify the Interactions that occur at the beginning of each Part

T he M anipulation Drills provide correct models of the language exponents in the Charts, and as such can be used either by the teacher or by the class as

pronunciation models or as laboratory m aterial (see [ b ] 1 )

S C H E M E S F O R P R E S E N T A T I O N A N D P R A C T I C E

T he following diagram s show two different models for the order of the various exercises and practices

♦

* T h e Extensive Listening taped m aterial with its accom panying exercises has been designed for use when

a Section has been studied by the class H owever, some teachers m ay prefer to preface work on a Section with some or all o f an Extensive Listening phase.

Obviously it will be up to the teacher to decide how m any of the exercises to

do, and in w hat order Sometimes, for example, it m ight be interesting to study the Cast Conversations and then go back to the M anipulation Drills, or even to study the Cast Conversations and then go back to the Language Presentation phase G enerally, however, the Role Simulations and Dialogue

W riting phases should occur at the end of a teaching unit

xv

A ttitude

In English, as in most other languages, we can say the same thing in a num ber

of ways

T he language we choose will depend on some or all of the following th in g s:

T he relationship we have with the people we are talking to ;

(e.g w hether they are close friends, strangers, people in authority, etc.)

T he situation we are i n ;

(at a friend’s party, at an official reception, etc.)

T he mood we are i n ;

(angry, happy, nervous, etc.)

T he mood of the people we are talking t o ;

( We will probably be especially careful when talking to a friend who is in a bad mood.)

W hat we are talking a b o u t;

( We will be more careful in our choice o f words i f we want to complain to a friend about his I her behaviour than we would i f we were offering him I her a drink.)

situation we are in In m any situations it will be appropriate to use <normal/ neutral} language and you will find the language items which fall into this

after them in the charts.

In other situations, it is necessary to use language items which are appropriate to special situations In this course, a num ber of different labels are used to indicate the attitude which particular language items show H ere is a list of the various labels and w hat they m ean in this course

Tentative) : This means ‘unsure’ and we use (tentative'} lan g u ag e:

e.g I t’s very kind o f you to invite me, but I ’m not sure i f I can come.

and diplom atic For example, if we w ant to disagree with a superior, it

more appropriate to be <(tentative> and say I ’m not sure i f I ’d agree withyou.

<(D irect}: <(Direct) language is the opposite of <(tentative} language; it gives the impression th at the speaker is very sure This impression is appropriate if, for example, we w ant to agree with someone, b ut it can sound presum ptuous and

(e.g inviting a superior to a party)

people It occurs mostly in ‘official’ situations e.g business meetings, official receptions.

(Informal) : (Inform al) language is used between friends, mainly It is generally

inappropriate to use it with anyone else

(Strong) : (Strong) language has a strong sense of conviction It usually sounds very direct

(B lu n t) : (B lu n t) language is very frank indeed I t should be used

with extreme care, as in most situations it will simply sound rude

S U M M A R Y

the situation we are in or the people we are talking to, we use special language

In the language charts in this course you will find th at the language items are

m arked in such a way as to tell you w hen the language can be used T he type of language we use shows our a t t i t u d e

Language presentation and practice

1 L A N G U A G E IT E M S

See C hart 1 on page 1 of the booklet in the back cover

In the questions below you must d ecid e:

ii) the language (from C hart 1 in the booklet) th at you would actually use

1 You are on a train and you w ant the window opened You ask an elderly gentlem an sitting near the window to open it, but you are not sure if he will like the idea

a) (normal) b) (polite) c) (tentative)

a) (ratherjormal) e) (direct)

f ) (direct and informal)^

You say _

language

* You will find suggested answers to all the exercises marked ( K ) , in the K e y in the booklet in the back (

xviii

You use

You say

a) ( normal]>

b) (polite) c) ( tentative) d) (ratherformal) e) ( direct)

f ) ( direct and informal)

language

4 You are the personal secretary to the m anager of a large company

Someone has ju st phoned to speak to the m anager, b ut he is in a meeting You ask the caller to phone back in an hour

You use

You say

a) ( normal) b) (polite) c) ( tentative)

d) <ratherformal>

^ (direct)

f ) (direct and informal)

5 You are in a restaurant and there is no ashtray You ask the w aiter to get you one

a) (normal)

You use

You say

b) (polite) c) (tentative) d) (ratherformal) e) (direct)

f ) (direct and informal)

language

N A N C Y C R O M E R Age 50

D onald’s wife and the d aughter of an arm y officer She m et D onald when she was twenty-two They have two sons and a daughter; the elder son is

an accountant and the other two are

at university Since her m arriage N ancy has devoted herself to her family

She is a rath er nervous person

S U S A N G R E Y Age 21

Susan lives in the flat above D onald

and N ancy Cromer After leaving

school at the age of 16 she joined the

local newspaper as a secretary She

was soon helping on the w om en’s

page, and last year she became a

news reporter She has a very

outgoing personality

which they find themselves since these will influence w hat language they use and how other people talk to them

T hroughout the course there will be practices called c a s t c o n v e r s a t i o n s in

direct> etc for the characters to use

This is T he Cast

D O N A L D C R O M E R Age 53

T he eldest of five children, he went to

gram m ar school and university and

later became a solicitor H e spends a

lot of time in meetings with his

clients, who are.often businessmen

H e has fairly traditional views and is

by n ature a quiet person

x x

a teacher at the local secondary

school She is a rath er serious person,

who takes a lot of interest in her

G raham is a barm an at the ‘H ope &

A nchor’, a large pub which has a folk

club every T hursday evening H e left

school when he was fifteen and has

done a variety of jobs since then He

has become friendly w ith David

Stuart, who sometimes plays in the

‘H ope & A nchor’ H e is by nature

rath er aggressive

T o select appropriate language.

Use appropriate language from C hart 1 ‘Asking Someone to Do Som ething’ in the following situations, and be prepared to justify your answers

school She asks Carol to pick them up on her way home from work

Susan says

m eeting in his office at 11.00 the next day

D onald says _

G raham Williams to lend him £5.00

David says

below, N ancy Crom er can hear the gram ophone, and because she has got

a headache, she goes to the girls’ flat and asks them to turn the music down

Nancy says

busy so she needs some help She asks the Principal of the school if she will help her, even though Carol knows she is very busy at the moment

Carol says _

road to get some sandwiches Susan wants a ham sandwich and a cup of coffee and calls out to her secretary ju st as she is leaving the office

Susan says

Section 1 /MEETING PEOPLE

b) T he m eeting is being organised by Jo h n Canford of ‘Environm ental Survival’.

I Good evening Mr Cromer

I'm so pleased you coulacom e

i Let w e ta k e your coat .

"V ( 2 Thank y o u ^

3 OK Professor B a te s, m ay I — > ( introduce Mr Donald Cromer Mr Cromer J

* 4 'The Mirror? Well you have

gon e up in t h e world, h a v e n ’t you

L ast t i m e I h e a r d , you w ere s'—\ w ith t h e "Essex Post', r f

2

I Professor 5 a tc s good evening

My n am e’s S u san Grey- I'm with

S t h e local newspaper y

\ ( 3 Do you mind if I ask you

\ one or tw o questions?

4 N ot a t all Fire away!

M ake the following conversations in which you m eet people

2 Ja c k greets Gloria

2 C A S T C O N V E R S A T IO N S

O B J E C T I V E

Use appropriate language from C harts 2-9 in the following situations and be prepared to justify your answers (W here necessary, refer back to T he Cast in the Introductory Section (pages xx-xxi.)

Susan Grey and Carol Anderson are having a party in their flat

Susan says _ _

D avid answ ers

David says Susan answ ers

G raham says _Carol answers _

who does not know M r W ood, opens the door

M rs W ood answ ers

with for a long time, but who he did not expect to meet there

In the following situations make short conversations paying particular

T he Cast in the Introductory Section.)

comes in H e and M ary do not know each other

director of a local building firm

comes up to him and introduces herself as Stephanie Roberts, a singer with a local folk group

Cummings, the father of one of the girls in C arol’s class

used to work with him in the same factory H e goes over to G raham His nam e is A lf W right

acquaintance to D onald and N ancy Crom er, who are on a visit to your country

the group works for the same newspaper)

financial expert, etc

your group

A t the reception, get to know everybody there

B Controlled practice

O B J E C T I V E

T o practise, at speed, the language from C harts 10-13, using good intonation

M ake the following into sentences about p e r s o n a l i n t e r e s t s

o b j e c t i v e

T o select appropriate language

Use appropriate language from C harts 10—13 in the following situations and be prepared to justify your answers (W here necessary, refer back to T he Cast in the Introductory Section.)

She asks Carol Anderson about C arol’s interest in it

preference for more m odern music

D onald’s colleague says

interest in politics

Susan says _

2 T he authoress expresses great interest

In the following situations make short conversations, paying particular

T h e Cast in the Introductory Section.)

about your interest in wildlife

interest in In d ian music

8

it fascinating.

3 Oh recti ly I'm afraid it's not «,

som ething I know very much about

You s e e I’m not particularly keen on

T o practise, at speed, the language from Charts 14—19, using good intonation

10

_ PEOPLE

b Agree with the statem ents m ade in a

c Disagree with the following statements

b) I tend to find rom antic films rath er silly

c) I really like w atching television

f ) I really don’t like musicals

g) I ’m rath e r keen on horror films

O B J E C T I V E

T o select appropriate language

Use appropriate language from C harts 14-19 in the following situations and be

prepared to justify your answers (W here necessary, refer back to T he Cast in the Introductory Section.)

a) i G raham W illiams is talking to D avid Stuart H e is saying th at he likesthe ‘H ope and A nchor’

dislike of m odern fashions

D onald says _

His colleague says

likes ‘D ilem m a’, a program m e on television

Susan says _

H er colleague says

In the following situations make short conversations paying p articular

T he Cast in the Introductory Section.)

friend does not like it, G raham does

particular attention to attitude.

W rite one of the following conversations in about 100 words.

a) Jo h n has m et Caroline for the first time H e is very interested in pop

music, and he likes playing tennis She is not very keen on pop music, but she likes tennis She is interested in films T hey are discussing their

interests and their likes and dislikes

M uldoon, about her interests and likes on his evening television

program m e

talk about their likes and dislikes

d Role sim ulation

T he gallery at present has £70,000 to spend on a work, or works, for its

m odern a rt section Because the director o f the gallery, Cyril Forbes, is

sensitive about public opinion, he has asked a num ber of people to come to a

m eeting and to express their likes, dislikes and preferences for the five works of art from which the gallery will have to choose

T he five works being considered by the gallery a r e :

Sheet by Carlos Begonyou

P ric e : £35,000

This is simply a nylon sheet

purchased at a London superm arket

Test Card by Charles Footley

Interior Landscape by Derek Carriage

Price: £49,000

This is a sem i-naturalistic painting of

a typical suburban sitting room

Contrasts by Caroline Snow

Price £39,500

This is a series of concentric circles

At the m eeting c y r i l f o r b e s will ask all those present to express their likes, dislikes and preferences for the various works

T he following people are present at the m eetin g :

c y r i l f o r b e s , the director of the gallery H e will ask everyone w hat they

think of the works, and try to get everyone to agree

m a r y p r o s s e r , the director o f the m odern art section She likes all the works except for ‘Sheet’, which she dislikes intensely Nevertheless she m ust try at all times to be polite

p a t r i c i a c u n t h o r p e , personnel officer of the gallery She particularly likes Caroline Snow’s work and dislikes all of the others, especially ‘A ppetite’

Nevertheless she will have to try to be fairly polite

d a n p o p e , the director o f the town council’s departm ent H e is very

traditional, and strongly against most m odern art None of the works shown

at the m eeting appeal to him at all, and he is strongly against any money

being spent

c a r o l p r e s t w i c k , the art critic on the ‘Evening Post’, the local paper She particularly likes ‘A ppetite’, but she thinks all the works have som ething to recom m end them She especially dislikes D an Pope’s attitude to art

r o g e r k a n e , the art critic from the national paper ‘T he Sunday S tar’ H e is

a great fan of Carlos Begonyou’s work, and also the artist’s friend

T he following members of the public like ‘Test C a rd ’ :

e l i z a b e t h c u t t s , a housewife T hey should be prepared to say why

p e t e r h u n t , a doctor they like the work, and w hat they

d e n i s e C l i f f o r d , a dentist do not like about the others

T he following mem bers of the public like ‘In terio r Landscape’ :

t o m c r e e d , a bookshop owner T hey should be prepared to say why

r a y a l l s o p , a butcher they like the work, and w hat they

l e o t a n k a r d , a librarian do not like about the others

T he following m embers of the public have not yet m ade up their minds about the works, or indeed w hether they think the gallery should purchase any of th e m :

r u t h p o w e r , a secretary T hey should study the works and see

G o r d o n m o r g a n , a baker if they like any of them or if they

v i v i a n g o d d a r d , a teacher think it would be irresponsible of the

i v o r w a l s h , a bank employee gallery to spend its money in this way

Extensive listening 1

O B J E C T I V E

a R ead the following questions and then listen to Part One W hen you have

listened to P art O ne, answer the questions

c) W hat are Clare Thom as and her colleagues hoping?

b R ead the following questions and then listen to P art Two W hen you have

listened to P art Two, answer the questions

c) How m uch longer does D avid Giles expect to be working on his

present film?

c R ead the following questions and then listen to Part Three W hen you have

listened to P art Three, answer the questions

c) W hy is Clare Thom as learning French ?

2 L A N G U A G E IN C O N T E X T

phrases mean

a) ‘ up to our eyes in it.’

b) ‘ who seems to be quite prom ising.’

c) ‘Pretty run of the m ill.’

16

d) ‘I d id n ’t really regard it as a perm anent thing anyw ay.’

c Listen to P art T hree again and decide w hat the following words or

phrases mean

a) ‘ I ’ll stick to the beer.’

b) ‘W hat do you get out of it ?’

c) ‘ roughing it.’

a Listen to P art O ne again and say w hich o f the following statem ents are true

and which are false You should justify your answers by referring to w hat the speakers actually say

working on

b Listen to P art Tw o again and say which of the following statem ents are true

and which are false You should justify your answers by referring to w hat the speakers actually say

talking together

publishing

c Listen to Part T hree again and say which of the following statements are true and which are false You should justify your answers by referring to w hat the speakers actually say

bright young m en’

and M rs Holly

‘lively’ holidays

> 1 ND FEELINGS Intersoction A

I Good morning, Charles.

2 Oh Good morning,

v f ’re (not) looking ( informal)

OU \ (don’t) look (polite)

D onald Crom er next meets his boss, who looks serious

D onald Crom er is at his office O ne

of his colleagues is clearly not well

Good morning George

You're looking at bit

I hope everything’s going well, (polite}

How are things going? <direct>

_ I _

B A D N E W S

O h dear, I am sorry to hear that

O h ! How awful (very strong)

G O O D N E W S

W h at {m a™=U° u s l news!

[excellent J

(slightly form at)

O h, I am pleased (to hear t h a t) !

T o practise, a t speed, the language from the Charts, using good intonation

a) i Hello Jo h n , you/not look very well 2 I/n o t feel well/afraid I/a cold

c) i Hello M ary/hope every thing/well in your new job

2 O h yes, I really like the work 3 O h/pleased/hear th at

2 T e rrib le ! I crashed my car this m orning! 3 O h /aw fu l!

2 F A D E D D IA L O G U E S

O B J E C T I V E

T o practise the language from P art O ne in situations

Complete the following dialogues w ith language from the Charts

E X A M P L E

X : ‘M y pet goldfish has ju st d ie d !’

Y: _

X : M y pet goldfish has ju st died!

Y : Oh no! How awful!

Now do the same with the following:

Y : Y es _ a bit under the w eather, actually

AND FEELINGS

f I HeJlo Miss Anderson >

I hear you're going to g e t

m arried Congratulations!

~~jr 2 Oh d e a r well it's Tp

J not definite really—

nobody's supposed to Know.

I i sa w a really fantastic,

programme about childcare

S on television last night.

I hear Congratulations, (polite)

D onald Crom er is talking to Nancy,

his wife, about an old friend who

has died in a car crash, ( f o i« - »i