Saturday, September 4, 2010

Explaining a Process

In explaining a process, either how to do something or how something happens, present the steps in order and keep your audience’s background knowledge in mind. Different kinds of processes are explained in the two models that follow.
(To enlarge the images, just click on them)
Model I


If you’ve ever followed instructions for assembling a kit, sewing a blouse, or operating unfamiliar equipment, you know how important it is that the process be explained clearly and simply. In the model above, Marcus Romero explains how to make an essential piece of football equipment. Romero explains a fairly simple process that requires steps to be performed in a certain order.

In the next model, however, John McPhee presents a far more complex process involving years of interaction between rivers and rock to create the whitewater rapids of the expansive Grand Canyon.


Model II
Use the Writing Process Stages

To explain a process, the writer must first understand the steps involved. The chart below illustrates the writing stages that are used.




Know your audience
As you plan your composition, consider your audience.What do members already know about the process you are explaining? How much detail are they likely to need? Will you need to define unfamiliar terms? The excerpt below, explaining how bicycle derailleur gears work, comes from a book that describes the workings of machines for people with little technical background.


This simple explanation gives readers a basic understanding of a process, using vocabulary that most readers can understand. Notice how the explanation below provides more thorough information, using technical terms such as chainwheel and freewheel that the first writer found unnecessary. This excerpt comes from a book written for serious cyclists who may want to work on their bicycles.


Compare tha last two models, and you will realize how important knowing the audience is. More details in class.

For further information log in this sites:





Friday, August 27, 2010

Sense and Sensibility

This is the link for you to download the book to read according to class instructions:

http://www.planetpdf.com/planetpdf/pdfs/free_ebooks/Sense_and_Sensibility_NT.pdf

Some in advance isntructions:

  • You will be assigned some chapters of the book.
  • You must read the chapters assigned and present a written report on it (based on a guide you will be given with.
  • Download the book and wait for more class instructions.

Wednesday, August 11, 2010

Writing a composition

Select a topic
(Click on the pictures to enlarge)


After making a schedule, select a topic. Spend some time in the library skimming books and encyclopedia articles . Researching and writing will be easier if you are curious about the topic you choose and if you find an approximate focus for your paper. Amy Colleen Bryan, a student at Lexington High School in Lexington, Virginia, was interested in the sinking of the Titanic in 1912.

Throughout this unit, you will see examples of notes, outlines, and drafts, and Amy’s final paper in Lesson 7.6. Besides your interests, consider what resources are available. If you have only one source on a topic, you will have only one viewpoint. On the other hand, selecting, condensing, and interpreting a mountain of information about a broad topic is difficult. This diagram shows how to identify an appropriate research paper topic.

Examine the Topic




As you continue to read about your topic, you will begin to determine your central idea. Examine your topic from various points of view.

Amy might have considered the following perspectives: How did the owners of the Titanic respond to the disaster? What did survivors recall about the sinking? Whom did investigators blame for the tragedy? Don’t worry if some angles lead to dead ends. For now just try to think critically about the topic from several perspectives.

To set a path for research, identify three to seven questions to answer first. As you answer these questions, you will discover others, as the diagram below shows. Let your central idea guide you in selecting questions.

Locate Information



You may use two types of sources—primary and secondary. A primary source is a firsthand account of an event, such as a Titanic survivor’s testimony before Congress. A secondary source is a secondhand account, such as an article analyzing the survivor’s comments. If possible, use primary sources to give your report a degree of authority that’s hard to achieve using only secondary sources. The chart below lists some basic sources used in social studies research. Some of the examples have their own Web sites or are available on CD-ROM.

Develop a working bibliography


 
As you begin your research, you will need to develop a working bibliography, a record of the books, articles, and other sources you will consult for your paper. Record the publication data for each appropriate source—including the publishing company, city, and date of publication—in a computer file or on a three-by-five-inch index card, as shown below. Number each source file or card in the upper right corner so that when you take notes, you can jot down the number of the source in which you find information. Preparing complete source files or cards now will help you compile your works-cited list at the end of your paper.Write notes to yourself as well, as shown on the magazine source card before.


Take notes



Just as you use cards when developing your working bibliography, you can use cards when taking notes. As you find a piece of information that answers one of your research questions, write it on a four-by-sixinch note card. In the upper right-hand corner of the note card, write the number of the source from the working bibliography.

You might want to put your initials by any of your own thoughts that you jot down on note cards. By initialing your own comments, you will be able to keep straight which information comes from other sources and which comes from your own interpretation.

Three ways of taking notes—paraphrasing, summarizing, and writing direct quotations—are shown previously.

Examine your sources critically

Because each source you use is written by a person with particular interests, knowledge, and values, be alert to each author’s bias. Find sources that approach your topic from different angles. Asking the following questions will help you critically evaluate your sources.

Avoid plagiarism

Presenting someone else’s ideas or expressions as your own is plagiarism, a form of cheating. Even when unintentional, plagiarism is a serious offense. You must give credit to the sources of information you use in your paper. To avoid plagiarism, keep clearly documented notes so you know where you found each piece of information. 

Mr. Manuel Oviedo, B.A.

Monday, July 26, 2010

George Orwell´s Biography



Biography
Eric Blair was born in 1903 in Motihari, Bengal, in the then British colony of India, where his father, Richard, worked for the Opium Department of the Civil Service. His mother, Ida, brought him to England at the age of one. He did not see his father again until 1907, when Richard visited England for three months before leaving again until 1912. Eric had an older sister named Marjorie and a younger sister named Avril. With his characteristic humour, he would later describe his family's background as "lower-upper-middle class."


Education
At the age of five, Blair was sent to a small Anglican parish school in Henley, which his sister had attended before him. He never wrote of his recollections of it, but he must have impressed the teachers very favourably for two years later he was recommended to the headmaster of one of the most successful preparatory schools in England at the time: St Cyprian's School, in Eastbourne, Sussex. Young Eric attended St Cyprian's on a scholarship that allowed his parents to pay only half of the usual fees. Many years later, he would recall his time at St Cyprian's with biting resentment in the essay "Such, Such Were the Joys," but he did well enough to earn scholarships to both Wellington and Eton colleges.

After a term at Wellington, Eric moved to Eton, where he was a King's Scholar from 1917 to 1921. Later in life he wrote that he had been "relatively happy" at Eton, which allowed its students considerable independence, but also that he ceased doing serious work after arriving there. Reports of his academic performance at Eton vary: some claim he was a poor student, others deny this. It is clear that he was disliked by some of his teachers, who resented what they perceived as disrespect for their authority. In any event, during his time at the school Eric made lifetime friendships with a number of future British intellectuals.

Burma and afterwards
After finishing his studies at Eton, having no prospect of gaining a university scholarship and his family's means being insufficient to pay his tuition, Eric joined the Indian Imperial Police in Burma. He resigned and returned to England in 1928 having grown to hate imperialism (as shown by his first novel Burmese Days, published in 1934, and by such essays as 'A Hanging', and 'Shooting an Elephant'). He adopted his pen name in 1933, while writing for the New Adelphi. He chose a pen name that stressed his deep, lifelong affection for the English tradition and countryside: George is the patron saint of England (and George V was monarch at the time), while the River Orwell in Suffolk was one of his most beloved English sites.

Orwell lived for several years in poverty, sometimes homeless, sometimes doing itinerant work, as he recalled in the book Down and Out in Paris and London. He eventually found work as a schoolteacher until ill health forced him to give this up to work part-time as an assistant in a secondhand bookshop in Hampstead, an experience later recounted in the short novel Keep the Aspidistra Flying.

Spanish Civil War
Soon after the outbreak of the Spanish Civil War, Orwell volunteered to fight for the Republicans against Franco's Nationalist uprising. As a sympathiser of the Independent Labour Party (of which he became a member in 1938), he joined the militia of its sister party in Spain, the non-Stalinist far-left POUM (Workers' Party of Marxist Unification), in which he fought as an infantryman. In Homage to Catalonia he described his admiration for the apparent absence of a class structure in the revolutionary areas of Spain he visited. He also depicted what he saw as the betrayal of that workers' revolution in Spain by the Spanish Communist Party, abetted by the Soviet Union and its secret police, after its militia attacked the anarchists and the POUM in Barcelona in May 1937. Orwell was shot in the neck (near Huesca) on May 20, 1937, an experience he described in his short essay "Wounded by a Fascist Sniper", as well as in Homage to Catalonia. He and his wife Eileen left Spain after narrowly missing being arrested as "Trotskyites" when the communists moved to suppress the POUM in June 1937.

World war and after
Orwell began supporting himself by writing book reviews for the New English Weekly until 1940. During World War II he was a member of the Home Guard and in 1941 began work for the BBC Eastern Service, mostly working on programmes to gain Indian and East Asian support for Britain's war efforts. He was well aware that he was shaping propaganda, and wrote that he felt like "an orange that's been trodden on by a very dirty boot." Despite the good pay, he resigned in 1943 to become literary editor of Tribune, the left-wing weekly then edited by Aneurin Bevan and Jon Kimche. Orwell contributed a regular column entitled 'As I Please.'

In 1944 Orwell finished his anti-Stalinist allegory Animal Farm, which was published the following year with great critical and popular success. The royalties from Animal Farm provided Orwell with a comfortable income for the first time in his adult life. From 1945 Orwell was the Observer's war correspondent and later contributed regularly to the Manchester Evening News. He was a close friend of the Observer's editor/owner, David Astor and his ideas had a strong influence on Astor's editorial policies. In 1949 his best-known work, the dystopian Nineteen Eighty-Four, was published. He wrote the novel during his stay on the island of Jura, off the coast of Scotland.

Between 1936 and 1945 Orwell was married to Eileen O'Shaughnessy, with whom he adopted a son, Richard Horatio Blair (b. May of 1944). She died in 1945 during an operation. In the autumn of 1949, shortly before his death, he married Sonia Brownell.

In 1949 Orwell was approached by a friend, Celia Kirwan, who had just started working for a Foreign Office unit, the Information Research Department, which had been set up by the Labour government to publish pro-democratic and anti-communist propaganda. He gave her a list of 37 writers and artists he considered to be unsuitable as IRD authors because of their pro-communist leanings. The list, not published until 2003, consists mainly of journalists (among them the editor of the New Statesman, Kingsley Martin) but also includes the actors Michael Redgrave and Charlie Chaplin. Orwell's motives for handing over the list are unclear, but the most likely explanantion is the simplest: that he was helping out a friend in a cause - anti-Stalinism - that both supported. There is no indication that Orwell ever abandoned the democratic socialism that he consistently promoted in his later writings - or that he believed the writers he named should be suppressed. Orwell's list was also accurate: the people on it had all at one time or another made pro-Soviet or pro-communist public pronouncements.

Orwell died at the age of 46 from tuberculosis which he had probably contracted during the period described in Down and Out in Paris and London. He was in and out of hospitals for the last three years of his life. Having requested burial in accordance with the Anglican rite, he was interred in All Saints' Churchyard, Sutton Courtenay, Oxfordshire with the simple epitaph: Here lies Eric Arthur Blair, born June 25th 1903, died January 21st 1950.

Orwell's work
During most of his career Orwell was best known for his journalism, both in the British press and in books of reportage such as Homage to Catalonia (describing his experiences during the Spanish Civil War), Down and Out in Paris and London (describing a period of poverty in these cities), and The Road to Wigan Pier (which described the living conditions of poor miners in northern England). According to Newsweek, Orwell "was the finest journalist of his day and the foremost architect of the English essay since Hazlitt."

Contemporary readers are more often introduced to Orwell as a novelist, particularly through his enormously successful titles Animal Farm and Nineteen Eighty-Four. The former is considered an allegory of the corruption of the socialist ideals of the Russian Revolution by Stalinism, and the latter is Orwell's prophetic vision of the results of totalitarianism. Orwell denied that Animal Farm was a reference to Stalinism. Orwell had returned from Catalonia a staunch anti-Stalinist and anti-Communist, but he remained to the end a man of the left and, in his own words, a 'democratic socialist'.

Orwell is also known for his insights about the political implications of the use of language. In the essay "Politics and the English Language", he decries the effects of cliche, bureaucratic euphemism, and academic jargon on literary styles, and ultimately on thought itself. Orwell's concern over the power of language to shape reality is also reflected in his invention of Newspeak, the official language of the imaginary country of Oceania in his novel Nineteen Eighty-Four. Newspeak is a variant of English in which vocabulary is strictly limited by government fiat. The goal is to make it increasingly difficult to express ideas that contradict the official line - with the final aim of making it impossible even to conceive such ideas. (cf. Sapir-Whorf Hypothesis). A number of words and phrases that Orwell coined in Nineteen Eighty-Four have entered the standard vocabularly, such as "memory hole," "Big Brother," "Room 101," "doublethink," "thought police," and "newspeak."
 
Compiled by Claribel Pineda

Animal Farm (by George Orwell)

Hi all Reading and Conversation II friends:
Download this book by clicking on the following link:
http://kienforcefidele.files.wordpress.com/2008/10/animal_farm.pdf

More information, with your teacher Claribel Pineda, B.A.
 

Wednesday, July 7, 2010

Wednesday, June 30, 2010

Interpreting vs. Translation

Interpreting and translation are two closely related linguistic disciplines. Yet they are rarely performed by the same people. The difference in skills, training, aptitude, and even language knowledge are so substantial that few people can do both successfully on a professional level.


On the surface, the difference between interpreting and translation is only the difference in the medium: the interpreter translates orally, while a translator interprets written text. Both interpreting and translation presuppose a certain love of language and deep knowledge of more than one tongue.


The Skill Profile of Technical Translators


However, the differences in skills are arguably greater than similarities. The key skills of the translator are the ability to understand the source language and the culture of the country where the text originated, and, using a good library of dictionaries and reference materials, render that material clearly and accurately into the target language. In other words, while the linguistic and cultural skills are still critical, the most important mark of a good translator is the ability to write well in the target language.


However, even bilingual individuals rarely can express themselves in a given subject equally well in both languages; and many excellent translators are not fully bilingual to begin with. Knowing this limitation, a good translator will only translate documents into his or her native language, and this is why we at RIC International absolutely require it of our technical translators, in addition to their subject matter expertise.


An interpreter, on the other hand, has to be able to translate in both directions on the spot, without using dictionaries or other supplemental reference materials. Interpreters must have extraordinary listening abilities, especially for simultaneous interpreting. Simultaneous interpreters need to process and memorize the words that the source-language speaker is saying now, while simultaneously outputting in the target language the translation of words the speaker said 5-10 seconds ago. In addition, interpreters have to posess excellent public speaking skills, and the intellectual capacity to instantly transform idioms, colloquialisms and other culturally-specific references into analogous statements the target audience will understand.


Interpreter Qualifications

Interpreting, just like translation, is, fundamentally, the art of paraphrasing – the interpreter listens to a speaker in one language, grasps the content of what is being said, and then paraphrases his or her understanding of the meaning using the tools of the target language. But just as you can not explain to someone a thought if you did not fully understand that thought, neither can you translate or interpret something without mastery of the subject matter being relayed.

It simply can not be overstated: when choosing an interpreter, his or her expert knowledge of the subject matter is equally as important as the interpreting experience. (See the section "Why Subject Expertise Matters for Technical Translators" for a more detailed discussion of the importance of subject matter knowledge for technical translators and interpreters).

For further information, you can download this document:

Mr. Oviedo

Grammatical Knowledge Test

Here there is a challenge: Read the following sentence to discover just two of its componentes:

The Simple Subject and the Simple Predicate.

"Those high white curtains which hid from the eyes the bed placed as if in the rear of a sanctuary; the scattering of light silk counterpanes, of quilts with flowers, of embroidered bedspreads, of linen pillowcases, this scattering under which it disappeared in the daytime, as an altar in the month of Mary under festoons and flowers, and which, in the evening, in order to go to bed, I would place cautiously on an armchair where they consented to spend the night; by the bed, the trinity of the glass with blue patterns, the matching sugar bowl, and the decanter (always empty, since the day after my arrival, by order of my aunt who was afraid to see it "spill"), these instruments, as it were, of the cult-almost as sacred as the precious orange blossom liqueur placed near them in a glass phial-,which I would no more have thought of profaning nor even of possibly using for myself than if they had been consecrated ciboria, but which I would examine a long time before undressing, for fear of upsetting them by a false motion; those little crocheted open-work stoles which threw on the backs of the armchair a mantel of white roses that must not have been without thorns since every time I was through reading and wanted to I noticed I remained caught in them; that glass bell on which, isolated from vulgar contacts, the clock was babbling privately for shells come from far away and for an old sentimental flower, but which was so heavy to lift that when the clock stopped, nobody but the clock-maker would have been foolhardy enough to undertake to wind it up; that very white guipure tablecloth which, thrown as an altar runner across the chest of drawers adorned with two vases, a picture of the Savior, and a twig of blessed boxwood made it resemble the Lord's Table (of which a priedieu, placed there every day, when the room war "done," finished evoking the idea), but whose frayings always catching in the chinks of the drawers stopped their movement so completely that I could never take out a handkerchief without at once knocking down the picture of the Savior, the sacred vases, the twig of blessed boxwood, and without stumbling and catching hold of the priedieu; finally, that triple layer of little bolting-cloth curtains, of large muslin curtains, and of larger dimity curtains always smiling in their often sunny hawthorn whiteness, but in reality very irritating in their awkwardness and stubbornness in playing around the parallel wooden bars and tangling in one another and getting all in the window as soon as I wanted to open or close it, -a second one being always ready if I succeeded in extricating the first to come to take its place immediately in the cracks as perfectly plugged by them as they would have been by a real hawthorn bush or by nests of swallows that might have had the fancy to settle there, so that this operation, in appearance so simple, of opening or closing my window, I never succeeded in doing without the help of someone in the house; all those things which not only could not answer any of my needs, but were even an impediment however slight, to their satisfaction, which evidently had never been placed there for someone's use, peopled my room with thoughts somehow personal, with that air of predilection, of having chosen to live there and delighting in it, which, often the trees in a clearing and the flowers on the road side or on old walls have".

Email your answers to:

Friday, June 11, 2010

Generative Grammar

Generative grammar is a notion that was developed in 1950s by Noam Chomsky. Although numerous scholars disagreed with Chomsky’s claims he gained many supporters and the idea was both developed and challenged at the same time. His works have exerted considerable influence on psycholinguistics, cognitive linguistics, applied linguistics as well as language methodology, and with time ‘generative grammar’ received broader meaning than it initially had.

Based partially on mathematical equations generative grammar is a set of rules that provide a framework for all the grammatically possible sentences in a language, excluding those which would be considered ungrammatical. A classical generative grammar consists of four elements:

  1. A limited number of non-terminal signs;
  1. A beginning sign which is contained in the limited number of non-terminal signs;
  1. A limited number of terminal signs;
A finite set of rules which enable rewriting non-terminal signs as strings of terminal signs.
The rules could be applied in a free way and the only requirement is that the final result must be a grammatically correct sentence. What is more, generative grammar is recursive, which means that any output of application of rules can be the input for subsequent application of the same rule. That should enable generating sentences as the daughter ofthe father of the brother of his cousin.

Chomsky considered language to be a species-specific property which is a part of the human mind. Chomsky studied the ­Internal-language, a mental faculty for language. He also wanted to account for the linguistic competence of native speakers and the linguistic knowledge of language present in language users’ minds. As he argued:

People know which sentences are grammatically well formed in their native language
They have this knowledge also of previously unheard sentences
So they must rely on mentally represented rules and not only on memory
Generative grammars might be regarded as models of mentally represented rules
The ability to acquire such sets of rules is most probably uniquely human.
Moreover, Chomsky argued that people posses a kind of Language Faculty which is a part of human natural biological qualities. The innate linguistic knowledge that enables practically any child to learn any of about 6000 existing languages (at a given point in time) is sometimes known as the Universal Grammar. This theory is often supported by the arguments that creole languages are created in a natural way and their users invent their own linguistic systems. What is more, it appears that creole languages share certain features even despite the distances that not allows for contact of two different creoles.
Down-loadable material:
http://prr.hec.gov.pk/Chapters/234-3.pdf



Friday, June 4, 2010

Common writing mistakes and errors

When someone is going to write a document, owing to an enormous variety of reasons, errors and mistakes commonly appear.

If talking about mistakes, the solution is easy. Why? Well, the author has just simply to look for the solving factors in the knowledge he/she already has.

Why do I affirm this? A mistake is no more than the misapplication of a rule that we already master, but due to some factors we use it in a wrong way. Therefore, if we just think consciously about it, we are to get to the correct usage because that is part of our register.

What is really delicate is when talking about errors. An error is based on an assumption, in Linguistics called overgeneralization, in which we take for granted that a rule which prescribes the usage of any part of speech or even a complete structure could be used the same way a similar one is. What is taking place in this case actually is the complete lack of knowledge on how we must well apply such language components.

The delicate aspect is not because we do not know how to use vocabulary, Spelling, Syntax, etc. It is because Semantics is affected as well. This simple aspect affects the message conveyance considerably, making it obscure, doubtful, and sometimes even completely opposite if compared with the original author’s intention.

The implication of this kind of mistakes creates misunderstanding, communication problems, and in general, the main objective of the language is not reached.

All of the languages suffer this “infection” made by their users, but it becomes more delicate if referred to/made by public figures, in whose case the message is not a family one, but a public one, and in some cases it even has state scopes.

Let us analyze this official Spanish document:
See paragraph # 3:“…daños severos a la infraestructura…” the used preposition (“a”) is not the adequate one. The same happens in next paragraph.

See paragraph # 5, line # 3, in the section of “RECOMENDACIONES”: …los conocimientos que faltan desarrollarse…” The re is a problem of concordance in terms of number.

Pay attention to the final paragraph to page # 2, line # 5:”… de conformidad a la ley…”

During the class session, we are analyzing the “Circular # 10" that presents writing problems regarding contradiction, lack of harmony and coherence.
For further information, please log in these Web Sites and consult the information there.

http://www.scn.org/cmp/errors.htm

http://www.scn.org/mpfc/ers.htm

http://www.freewebs.com/apeci/enerc/Errores%20comunes%20en%20la%20redaccion%20cientifica.pdf

http://gruposantillanapr.com/index.php?page=shop.product_details&flypage=flypage.tpl&product_id=140&category_id=648&option=com_virtuemart&Itemid=91&vmcchk=1&Itemid=91

http://comunicacion.unab.cl/pdf/normativa_redaccion_periodistica.pdf

Tuesday, June 1, 2010

Latin and Greek Contributions to English Lexicon





The English vocabulary development activities and resources in this and related sites are based primarily on Latin and Greek elements that are included in thousands of English terms and expressions. A very small number of schools currently provide learning situations and activities that include vocabulary etymology and histories; therefore, it is advantageous for students to learn more about English development, as well as, oxymora (a.k.a. oxymorons), stories, pleonasms (redundancies), and other related terms that are provided online with this Focusing on Words site.

To know the origin of words is to know how men think, how they have fashioned their civilizations. Word history traces the paths of human relationships, the bridges from mind to mind, and from nation to nation.

The English Language Is Truly International!
Some of the words in English can be traced to a remote past; some have histories that began yesterday or are even beginning today. Slow changes, swift new coinages of science or slang, ancient or recent borrowing from many tongues; together they give flexibility, power, and beauty to English, the richest and most widespread language of all time.

Remember, words are the tools with which you think, communicate, and learn. The more words you know, the better you can think, communicate, and absorb knowledge; not just about English, but about everything that is important to you.

The more limited your vocabulary is, the harder survival is in our global-economic society; and certainly you want more than just to survive. It is an indisputable fact that your chances for success increase with the size and applications of your vocabulary.

Building a larger vocabulary doesn't require you to spend hours memorizing definitions; however, it does require that you become word-conscious, that you have a curiosity about words, not only about their meanings but especially about their origins.

A large volume of current English words were developed in the Modern English period
Without considering the immense number of words that we have constantly borrowed from every language with which English-speaking people have been in contact, we owe a large volume of our words to the period that we call "Modern English", beginning, roughly, with the sixteenth century.

Scholarship, previously limited largely to the clergy, was opened to just about every one, and the study of classical learning became the ultimate way to be educated.

Writers and thinkers sprang up from every walk of life, and did not hesitate to select, or to choose, their words from the Latin of Cicero, or Horace, or Ovid, or Seneca.

Many also went to the Greek of Aeschylus, or Plato, or Plutarch to derive their words. It is thus chiefly through these writers and their unceasing stream of successors that the great bulk of words derived directly from Latin and Greek ancestry and meanings have entered our language.

From this practice also has descended our present custom of looking to one or another of those languages for the formation of new words, especially those of scientific nature.

Why is an extensive vocabulary such an important asset?
As stated earlier, words are the building blocks of thought. They are the means by which we understand the ideas of others and express our own opinions. It is only logical then that people who know how to use words concisely and accurately find it easier to achieve their aims.

In fact, you should realize that formal education has less relationship to vocabulary achievement than you might expect, indicating that people can improve their word power on their own. This and the related linking sites will show you how to expand and to improve your English vocabulary skills. Now, it is up to you to take advantage of these rich vocabulary resources!

"What the elements are to chemistry, what the sounds are to music, are words to language. However, words are not only the elements of a language but also of the history of the people speaking it. They are important milestones along the way leading to the majestic Palace of Human Knowledge".

Dr. Ernest Klein,
Get your dictionary:
http://hotfile.com/dl/26433120/b05fc34/WPro_6.03_Full_All.part1.rar.html

http://hotfile.com/dl/26433198/764b544/WPro_6.03_Full_All.part2.rar.html

The Importance of Reading



It is a well-known fact that when there were no televisions or computers, reading was a primary leisure activity. People would spend hours reading books and travel to lands far away-in their minds. The only tragedy is that, with time, people have lost their skill and passion to read. There are many other exciting and thrilling options available, aside from books. And that is a shame because reading offers a productive approach to improving vocabulary and word power. It is advisable to indulge in at least half an hour of reading a day to keep abreast of the various styles of writing and new vocabulary.

It is observed that children and teenagers who love reading have comparatively higher IQs. They are more creative and do better in school and college. It is recommended that parents to inculcate the importance of reading to their children in the early years. Reading is said to significantly help in developing vocabulary, and reading aloud helps to build a strong emotional bond between parents and children. The children who start reading from an early age are observed to have good language skills, and they grasp the variances in phonics much better.

Reading helps in mental development and is known to stimulate the muscles of the eyes. Reading is an activity that involves greater levels of concentration and adds to the conversational skills of the reader. It is an indulgence that enhances the knowledge acquired, consistently. The habit of reading also helps readers to decipher new words and phrases that they come across in everyday conversations. The habit can become a healthy addiction and adds to the information available on various topics. It helps us to stay in-touch with contemporary writers as well as those from the days of yore and makes us sensitive to global issues.

Reading provides detailed information on Reading, Home Reading, Reading Glasses, Reading Comprehension and more. Reading is affiliated with Educational Games.

Saturday, May 15, 2010

The Young Victoria


Download this movie and see it in advance; it will be commented in class next Saturday. See the download links below.
Download links:


http://www.mediafire.com/?twmmnoywhiz

http://www.mediafire.com/?0mfeynzmerm

http://www.mediafire.com/?yonzmjedmzd

http://www.mediafire.com/?fcyjdyzzlyo


Mediafire Password (Part 3 only)
mediafiremoviez.com

Technical details of the movie:
MOVIE TITLE]:………………(The Young Victoria)
[RELEASE YEAR]:……………..(2009)
[FORMAT]:…………………..(Matroska MKV)
[GENRE]:……………………[ Drama History Romance
[FILE SIZE]:………………..( 363 MB )
[NO OF CDs]:………………..( 1 )
[LANGUAGE ]:………………..( English )

Charles Dickens wrote part of his production during this historical moment in England.

The movie has been splitted with HJ Split. Dowload it from this address:

http://www.mediafire.com/file/vukfytzm2mr/hjsplit.rar

Enjoy

The Victorian Age


Queen Victoria and Victorian England - the young queen

The generally uneventful reign of George's brother, William IV (1830-37), was followed by that of Queen Victoria (1837-1901). Only 18 when she came to the throne, Victoria oversaw England at the height of its overseas power. The British Empire was established in her reign, and it reached its greatest expanse under her. Things did not start off smoothly, however.

The Chartist movement began in 1839 with demands for electoral reform and universal male suffrage. The movement was taken over by radical reformers and was dealt with very harshly by the authorities. The Anti Corn Law League was another voice for social reform. They advocated total free trade, but it was not until 1846 that the Corn Laws were completely repealed.

The Great Exhibition. Victoria's consort, Prince Albert, was the main backer of the 1851 Great Exhibition. This was the first "world's fair", with exhibits from most of the world's nations. The exhibition was held in Hyde Park, and the showpiece was the Crystal Palace, a prefabricated steel and glass structure like a gigantic greenhouse, which housed the exhibits. The Crystal Palace was disassembled after the Exhibition and moved to Sydenham, in south London, where it burned down in 1936. for (more, see The Great Exhibition).

The Crimean War. Overseas England became involved in the Crimean War (1854), which was notable only in that it provided evidence of military incompetence and the material for the poem "The Charge of the Light Brigade", by Alfred Tennyson. One positive that came out of the war was the establishment of more humane nursing practices under the influence of Florence Nightingale, the courageous "Lady with the Lamp".

The Indian Mutiny. A few years later (1857) saw the Indian Mutiny. India had been administered by the East India Company with government co-operation. The spark for the Mutiny was provided when the army introduced new rifle cartridges which were rumoured to have been greased with lard. Any Hindu who bit off the end of the cartridge, which was essential practice when loading a gun, was committing sacrilege. The army rebelled and massacred many British officers, administrators, and families. After the Mutiny was put down the administration of India was taken over by the government of Britain.

Victorian Art and Architecture

The Gothic Revival. In reaction to the classical style of the previous century, the Victorian age saw a return to traditional British styles in building, Tudor and mock-Gothic being the most popular. The Gothic Revival, as it was termed, was part spiritual movement, part recoil from the mass produced monotony of the Industrial Revolution. It was a romantic yearning for the traditional, comforting past. The Gothic Revival was led by John Ruskin, who, though not himself an architect, had huge influence as a successful writer and philosopher.

Extravagant... Most popular architectural styles were throwbacks; Tudor, medieval, Italianate. Houses were often large, and terribly inconvenient to live in. The early Victorians had a predilection for overly elaborate details and decoration. Some examples of large Victorian houses are Highclere Castle (Hampshire) and Kelham Hall (Nottinghamshire).

... and simple. In late Victorian times the pendulum, predictably, swung to the other extreme and the style was simpler, using traditional vernacular (folk) models such as the English farmhouse. This period is typified by the work of Norman Shaw at 'Wispers' Midhurst, (Sussex).

Not just styles changed. The Industrial Revolution made possible the use of new materials such as iron and glass. The best example of the use of these new materials was the Crystal Palace built by Joseph Paxton for the Great Exhibition of 1851.

The Arts and Crafts movement. Another name that has to be mentioned in the context of Victorian art and architecture is that of William Morris. Neither artist nor architect, he nevertheless had enormous influence in both arenas. Morris and his artist friends Rossetti and Burne-Jones were at the forefront of the movement known as 'Arts and Crafts'. Part political manifesto, part social movement, with a large dollop of nostalgia thrown in, the Arts and Crafters wanted a return to high quality materials and hand-made excellence in all fields of art and decoration.

The cheap, mass-produced (and artistically inferior) building and decorating materials then available horrified them. Morris himself, through his Morris and Co., designed furniture, textiles, wallpaper, decorative glass, and murals. Many of Morris' designs are still popular today.

Places to see in the UK associated with Queen Victoria

There has been a surge of interest in the life and times of Queen Victoria in recent years - due in no small part to several popular films, such as 'Mrs Brown', and 'The Young Victoria'.

Here's a look at several places around the UK either directly associated with Queen Victoria, or that have featured in films about her life. Several of the most popular and well known attractions are clustered in London, as you might expect, but there are quite a few scattered throughout the UK. Let's start with the London locations first.

Locations in London

Kensington Palace
First up, there's Kensington Palace, where Princess Alexandrina Victoria was born on 24 May, 1819 (yes, that's right, the young princess first name was not Victoria, and indeed, she was known in her family as 'Drina', from her true first name 'Alexandrina'. She was christened by the archbishop of Canterbury in the Cupola Room at the palace, and the young Victoria spent much of her childhood at the palace, located at the western extremity of Kensington Gardens.

Buckingham Palace
Then, of course, there's Buckingham Palace, with the huge gilt statue of Victoria punctuating The Mall in front of the Palace gates. When Victoria moved into the palace it was only partially complete, and she complained that it was drafty, the doors didn't shut properly, and drains smelled bad. Things have improved since then!

Friday, May 14, 2010

Something on Charles Dickens

Charles Dickens was born on February 7, 1812, the son of John and Elizabeth Dickens. John Dickens was a clerk in the Naval Pay Office. He had a poor head for finances, and in 1824 found himself imprisoned for debt. His wife and children, with the exception of Charles, who was put to work at Warren's Blacking Factory, joined him in the Marshalsea Prison. When the family finances were put at least partly to rights and his father was released, the twelve-year-old Dickens, already scarred psychologically by the experience, was further wounded by his mother's insistence that he continue to work at the factory. His father, however, rescued him from that fate, and between 1824 and 1827 Dickens was a day pupil at a school in London. At fifteen, he found employment as an office boy at an attorney's, while he studied shorthand at night. His brief stint at the Blacking Factory haunted him all of his life — he spoke of it only to his wife and to his closest friend, John Forster — but the dark secret became a source both of creative energy and of the preoccupation with the themes of alienation and betrayal which would emerge, most notably, in David Copperfield and in Great Expectations.

In 1829 he became a free-lance reporter at Doctor's Commons Courts, and in 1830 he met and fell in love with Maria Beadnell, the daughter of a banker. By 1832 he had become a very successful shorthand reporter of Parliamentary debates in the House of Commons, and began work as a reporter for a newspaper.


In 1833 his relationship with Maria Beadnell ended, probably because her parents did not think him a good match (a not very flattering version of her would appear years later in Little Dorrit). In the same year his first published story appeared, and was followed, very shortly thereafter, by a number of other stories and sketches. In 1834, still a newspaper reporter, he adopted the soon to be famous pseudonym "Boz." His impecunious father (who was the original of Mr. Micawber in David Copperfield, as Dickens's mother was the original for the querulous Mrs. Nickleby) was once again arrested for debt, and Charles, much to his chagrin, was forced to come to his aid. Later in his life both of his parents (and his brothers) were frequently after him for money. In 1835 he met and became engaged to Catherine Hogarth.

The first series of Sketches by Boz was published in 1836, and that same year Dickens was hired to write short texts to accompany a series of humorous sporting illustrations by Robert Seymour, a popular artist. Seymour committed suicide after the second number, however, and under these peculiar circumstances Dickens altered the initial conception of The Pickwick Papers , which became a novel (illustrated by Hablot K. Browne, "Phiz," whose association with Dickens would continue for many years). The Pickwick Papers continued in monthly parts through November 1837, and, to everyone's surprise, it became an enormous popular success. Dickens proceeded to marry Catherine Hogarth on April 2, 1836, and during the same year he became editor of Bentley's Miscellany, published (in December) the second series of Sketches by Boz, and met John Forster, who would become his closest friend and confidant as well as his first biographer.

After the success of Pickwick, Dickens embarked on a full-time career as a novelist, producing work of increasing complexity at an incredible rate, although he continued, as well, his journalistic and editorial activities. Oliver Twist was begun in 1837, and continued in monthly parts until April 1839. It was in 1837, too, that Catherine's younger sister Mary, whom Dickens idolized, died. She too would appear, in various guises, in Dickens's later fiction. A son, Charles, the first of ten children, was born in the same year.

Nicholas Nickleby got underway in 1838, and continued through October 1839, in which year Dickens resigned as editor of Bentley's Miscellany. The first number of Master Humphrey's Clock appeared in 1840, and The Old Curiosity Shop, begun in Master Humphrey, continued through February 1841, when Dickens commenced Barnaby Rudge, which continued through November of that year. In 1842 he embarked on a visit to Canada and the United States in which he advocated international copyright (unscrupulous American publishers, in particular, were pirating his works) and the abolition of slavery. His American Notes, which created a furor in America (he commented unfavorably, for one thing, on the apparently universal — and, so far as Dickens was concerned, highly distasteful — American predilection for chewing tobacco and spitting the juice), appeared in October of that year. Martin Chuzzlewit, part of which was set in a not very flatteringly portrayed America, was begun in 1843, and ran through July 1844. A Christmas Carol, the first of Dickens's enormously successful Christmas books — each, though they grew progressively darker, intended as "a whimsical sort of masque intended to awaken loving and forbearing thoughts" — appeared in December 1844.

In that same year, Dickens and his family toured Italy, and were much abroad, in Italy, Switzerland, and France, until 1847. Dickens returned to London in December 1844, when The Chimes was published, and then went back to Italy, not to return to England until July of 1845. 1845 also brought the debut of Dickens's amateur theatrical company, which would occupy a great deal of his time from then on. The Cricket and the Hearth, a third Christmas book, was published in December, and his Pictures From Italy appeared in 1846 in the "Daily News," a paper which Dickens founded and of which, for a short time, he was the editor.

In 1847, in Switzerland, Dickens began Dombey and Son, which ran until April 1848. The Battle of Life appeared in December of that year. In 1848 Dickens also wrote an autobiographical fragment, directed and acted in a number of amateur theatricals, and published what would be his last Christmas book, The Haunted Man, in December. 1849 saw the birth of David Copperfield, which would run through November 1850. In that year, too, Dickens founded and installed himself as editor of the weekly Household Words, which would be succeeded, in 1859, by All the Year Round, which he edited until his death. 1851 found him at work on Bleak House, which appeared monthly from 1852 until September 1853.

In 1853 he toured Italy with Augustus Egg and Wilkie Collins, and gave, upon his return to England, the first of many public readings from his own works. Hard Times began to appear weekly in Household Words in 1854, and continued until August. Dickens's family spent the summer and the fall in Boulogne. In 1855 they arrived in Paris in October, and Dickens began Little Dorrit, which continued in monthly parts until June 1857. In 1856 Dickens and Wilkie Collins collaborated on a play, The Frozen Deep, and Dickens purchased Gad's Hill, an estate he had admired since childhood.

The Dickens family spent the summer of 1857 at a renovated Gad's Hill. Hans Christian Anderson, whose fairy tales Dickens admired greatly, visited them there and quickly wore out his welcome. Dickens's theatrical company performed The Frozen Deep for the Queen, and when a young actress named Ellen Ternan joined the cast in August, Dickens fell in love with her. In 1858, in London, Dickens undertook his first public readings for pay, and quarreled with his old friend and rival, the great novelist Thackeray. More importantly, it was in that year that, after a long period of difficulties, he separated from his wife. They had been for many years "tempermentally unsuited" to each other. Dickens, charming and brilliant though he was, was also fundamentally insecure emotionally, and must have been extraordinarily difficult to live with.

In 1859 his London readings continued, and he began a new weekly, All the Year Round. The first installment of A Tale of Two Cities appeared in the opening number, and the novel continued through November. By 1860, the Dickens family had taken up residence at Gad's Hill. Dickens, during a period of retrospection, burned many personal letters, and re-read his own David Copperfield, the most autobiographical of his novels, before beginning Great Expectations, which appeared weekly until August 1861.

1861 found Dickens embarking upon another series of public readings in London, readings which would continue through the next year. In 1863, he did public readings both in Paris and London, and reconciled with Thackeray just before the latter's death. Our Mutual Friend was begun in 1864, and appeared monthly until November 1865. Dickens was in poor health, due largely to consistent overwork.

In 1865, an incident occurred which disturbed Dickens greatly, both psychologically and physically: Dickens and Ellen Ternan, returning from a Paris holiday, were badly shaken up in a railway accident in which a number of people were injured.

1866 brought another series of public readings, this time in various locations in England and Scotland, and still more public readings, in England and Ireland, were undertaken in 1867. Dickens was now really unwell but carried on, compulsively, against his doctor's advice. Late in the year he embarked on an American reading tour, which continued into 1868. Dickens's health was worsening, but he took over still another physically and mentally exhausting task, editorial duties at All the Year Round.

During 1869, his readings continued, in England, Scotland, and Ireland, until at last he collapsed, showing symptoms of mild stroke. Further provincial readings were cancelled, but he began upon The Mystery of Edwin Drood.

Dickens's final public readings took place in London in 1870. He suffered another stroke on June 8 at Gad's Hill, after a full day's work on Edwin Drood, and died the next day. He was buried at Westminster Abbey on June 14, and the last episode of the unfinished Mystery of Edwin Drood appeared in September.

When should I paraphrase,and when should I summarize?

To paraphrase means to express someone else's ideas in your own language. To summarize means to distill only the most essential points of someone else's work. Paraphrase and summary are indispensable tools in essay writing because they allow you to include other people's ideas without cluttering up your essay with quotations. They help you take greater control of your essay. Consider relying on either tool when an idea from one of your sources is important to your essay but the wording is not. You should be guided in your choice of which tool to use by considerations of space. But above all, think about how much of the detail from your source is relevant to your argument. If all your reader needs to know is the bare bones, then summarize. Ultimately, be sure not to rely too heavily on either paraphrase or summary. Your ideas are what matter most. Allow yourself the space to develop those ideas.


How do I paraphrase?
Whenever you paraphrase, remember these two points:
1. You must provide a reference.
2. The paraphrase must be entirely in your own words. You must do more than merely substitute phrases here and there. You must also completely alter the sentence structure.


It can be difficult to find new words for an idea that is already well expressed. The following strategy will make the job of paraphrasing a lot easier:
1. When you are at the note-taking stage, and you come across a passage that may be useful for your essay, do not copy the passage verbatim unless you think you will want to quote it.
2. If you think you will want to paraphrase the passage, make a note only of the author's basic point. You don't even need to use full sentences.
3. In your note, you should already be translating the language of the original into your own words. What matters is that you capture the original idea.
4. Make sure to include the page number of the original passage so that you can make a proper reference later on.


When it comes time to write the paper, rely on your notes rather than on the author's work. You will find it much easier to avoid borrowing from the original passage because you will not have recently seen it. Follow this simple sequence:
1. Convert the ideas from your notes into full sentences.
2. Provide a reference.
3. Go back to the original to ensure that (a) your paraphrase is accurate and (b) you have truly said things in your own words.


How do I summarize?
Summary moves much farther than paraphrase away from point-by-point translation. When you summarize a passage, you need first to absorb the meaning of the passage and then to capture in your own words the most important elements from the original passage. A summary is necessarily shorter than a paraphrase.

Skimming and Scanning

Easier - There are different styles of reading for different situations. The technique you choose will depend on the purpose for reading. For example, you might be reading for enjoyment, information, or to complete a task. If you are exploring or reviewing, you might skim a document. If you're searching for information, you might scan for a particular word. To get detailed information, you might use a technique such as SQ4R. You need to adjust your reading speed and technique depending on your purpose.

Many people consider skimming and scanning search techniques rather than reading strategies. However when reading large volumes of information, they may be more practical than reading. For example, you might be searching for specific information, looking for clues, or reviewing information.

Harder - Web pages, novels, textbooks, manuals, magazines, newspapers, and mail are just a few of the things that people read every day. Effective and efficient readers learn to use many styles of reading for different purposes. Skimming, scanning, and critical reading are different styles of reading and information processing.

Skimming is used to quickly identify the main ideas of a text. When you read the newspaper, you're probably not reading it word-by-word, instead you're scanning the text. Skimming is done at a speed three to four times faster than normal reading. People often skim when they have lots of material to read in a limited amount of time. Use skimming when you want to see if an article may be of interest in your research.

There are many strategies that can be used when skimming. Some people read the first and last paragraphs using headings, summarizes and other organizers as they move down the page or screen. You might read the title, subtitles, subheading, and illustrations. Consider reading the first sentence of each paragraph. This technique is useful when you're seeking specific information rather than reading for comprehension. Skimming works well to find dates, names, and places. It might be used to review graphs, tables, and charts.

Scanning is a technique you often use when looking up a word in the telephone book or dictionary. You search for key words or ideas. In most cases, you know what you're looking for, so you're concentrating on finding a particular answer. Scanning involves moving your eyes quickly down the page seeking specific words and phrases. Scanning is also used when you first find a resource to determine whether it will answer your questions. Once you've scanned the document, you might go back and skim it.

When scanning, look for the author's use of organizers such as numbers, letters, steps, or the words, first, second, or next. Look for words that are bold faced, italics, or in a different font size, style, or color. Sometimes the author will put key ideas in the margin.

Reading off a computer screen has become a growing concern. Research shows that people have more difficulty reading off a computer screen than off paper. Although they can read and comprehend at the same rate as paper, skimming on the computer is much slower than on paper.

Reading Strategies to remember

Reading Strategies

For many of you, reading at the college level is an entirely new experience. You've been reading for 12 years or more in school and for pleasure, but academic reading can be overwhelmingly difficult for those whose skills are less than excellent. In K-12 reading, the focus is often on the concrete aspects of the text, the facts, what is easily visible on the page, and writing about reading requires only that you regurgitate basic information.

College reading, on the other hand, requires meta-cognition, the ability to orchestrate your own learning. You need to think about how your learning style interacts with the text you are reading, and perhaps change your reading strategies to meet the challenges of that text.

There are four variables to be considered when learning how to read more successfully: the reader, the text, the strategies, and the goal. Characteristics of the reader include reading skills, interest in the topic, physical factors such as sleepiness or hunger. The text varies in type (novel, science, play,psychology, etc.) and difficulty. Some reading is easy and moves along quickly, while other reading is quite dense and perhaps even tedious, packed with information. The next factor, strategies employed by the reader, makes all the difference. The goal of this handout is to give you a larger repertoire of reading strategies, to help you read less and get more out of it.
The final consideration is the purpose. Why are you reading this text, and what do you want to get out of it?

Some students are good readers. Perhaps their parents read to them when they were young, and as adults they read a great deal, read for pleasure, and find reading easy. They instinctively understand how to use reading strategies. For instance, when reading a newspaper, these students have no difficulty scanning the pages quickly, then slowing down to focus on one interesting article.

Others are lazy and inattentive about reading, or feel insecure and easily intimidated by complex material. They have never had to read anything as difficult as their college textbooks and research materials. Such students have not learned to use a variety of reading strategies, but they think of themselves as dumb rather than untrained.
Every time you read, you're teaching yourself how to read. For instance, if you read class materials in bed at night and fall asleep after a few minutes, you're teaching yourself to be uncaring and sleepy when you read.

Academic reading is not easy. Part of learning to use reading strategies is to try out new and different ways of reading. Even professors read, think, write, reread, puzzle over ideas. No one gets it the first time. Successful students learn how to read effectively and remember what they read. You need to learn ways to leap into reading, keep going, finish up, summarize, and connect the new information to other knowledge you have acquired.

Below is a list of reading strategies to try. Keep in mind that any three strategies may be enough to make you a better reader. Experiment with different methods and see what works for you. The goal is to develop a reading system which will help you in the long term, not just for this class, but for life.

Read sitting up, with a good light, at a desk or table.
Keep background noise to a minimum. Loud rock and roll music will not make you a better reader.

The same goes for screaming kids, talking roommates, television or radio. Give yourself a quiet environment so that you can concentrate on the text.
Keep paper and pen within reach.

Before beginning to read, think about the purpose for the reading. Why has the teacher made this assignment? What are you supposed to get out of it? Jot down your thoughts.
Survey the reading. Look at the title of the piece, the subheadings. What is in dark print or stands out? Are there illustrations or graphs?
Read the introduction and conclusion, then go back and read the whole assignment. Or read the first line in every paragraph to get an idea of how the ideas progress, then go back and read from the beginning.

Scan the entire reading, then focus on the most interesting or relevant parts to read in detail.
Pay attention to when you can skim and when you need to understand every word.
Write as you read. Take notes and talk back to the text. Explicate (explain in detail) and mark up the pages. Write down what interests or bores you. Speculate about why.
If you get stuck in the reading, think and write about where you got stuck. Contemplate why that particular place was difficult and how you might break through the block.
Record and explore your confusion. Confusion is important because it's the first stage in understanding.

When the going gets difficult, and you don't understand the reading, slow down and reread sections.

Break long assignments into segments. Read 10 pages, then do something else. Later, read the next 10 pages and so on.

Read prefaces and summaries to learn important details about the book. Look at the table of contents for information about the structure and movement of ideas. Use the index to look up specific names, places, ideas.

Translate difficult material into your own words. Create an alternative text.
Answer the questions at the end of the chapter.

Answer these question in your own words: What's the author talking about? What does the author want me to get out of this?

Read the entire piece, then write a one paragraph or one sentence summary.
Transcribe your notes in the book or handwritten notes into more formal notes on the computer. Turn your first notes into a list of ideas or a short essay.
Review the ideas in the text after you finish reading. Ask yourself questions to determine what you got out of the reading.

Mark up the text, bring it to class, and ask questions about what you don't understand.
Post an email to the class Mailing List and ask for responses from the teacher and fellow students.

Consult another source. What does another author have to say on the same topic?
Disagree with the author. Become a devil's advocate. Remember, you don't have to believe an idea to argue about it.

Think about the text in three ways:
1. Consider the text itself, the basic information right there on the page. (This is the level of most high school readers and many college students.)
2. Next think about what is between the lines, the conclusions and inferences the author means you to draw from the text.
3. Finally, go beyond thinking about the text. What creative, new, and different thoughts occur as you combine your knowledge and experiences with the ideas in the reading?