Práctica

INGLÉS

e s t r as
Mu r a c i ón
p re pa t i c a
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para rueba p
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 INGLÉS 19
s t r a de ICS Linguistics
Mue INGUIST
i o d eL
ic
ejerc
Grammar

3 AUTHENTICITY AND AUTONOMY IN ELT

Henry G Widdowson

There are two ideas that have been promoted in

English language teaching over recent years. (1) One
is that the language to be presented in the classroom
should be as authentic as possible so as to represent
the reality of native speaker use. (2) The other is that
learners should be as autonomous as possible, and be
allowed to make the language their own. (3) The question I should like to raise is
whether these two ideas are complementary or contradictory. (4)
The authenticity idea develops from a communicative orientation to language
teaching. (5) The argument runs along the following lines. (6) If you are going to
teach real English as it functions in contextually appropriate ways, rather than a
collection of linguistic forms in artificial classroom situations, then you need to refer
to how native speakers actually put it to communicative use. (7) Authenticity is thus
dependent on the authority of the native speaker. (8) The idea gains support, too,
from the vast accumulation and analysis of language which can now be carried out
by computer. (9) Corpus descriptions of English can now make available facts about
authentic usage which we ignored. (10) It is an idea, therefore, which is not only
appealing in principle, but feasible in practice. (11) The appropriate English for the
classroom is the real English that is appropriately used outside it. (12) We now know
what real English looks like, so we no longer have an excuse for not teaching it. (13)
The authenticity idea gives primacy to the goal of learning. (14) If real
communicative behaviour is what learners have eventually to learn, then that is
what they have to be taught. (15) The autonomy idea gives primacy to the process
of learning. (16) The argument here is that if this is to be activated effectively,
then we need to appeal to the learners’ own experience, and get them engaged
on their own terms. (17) They need to be induced to invest the language with their
own personalities and goals, to interact with each other on problem-solving tasks
which will give a purpose to their learning. (18) The emphasis here is not on the
language that will be appropriate in contexts of use, but on the language that can
be appropriated in contexts of learning. (19)
The difficulty is that, on the face of it, the two ideas appear to be incompatible.
(20) They give priority to contrary realities. (21) Authenticity concerns the reality
of the communication in English which is realized by an English-speaking
community. (22) But the language which is real for native speakers is not likely to
be real for learners. (23) One might argue that logically it cannot be, for learners
have by definition not yet learned how to make it so. (24) They belong to another
community and do not have the necessary knowledge of the contextual conditions
which would enable them to verify their proficiency in English in native-speaker
terms. (25) Their reality is quite different: it is one which relates to a different
community served by a language other than English. (26) So contexts which
will be meaningful for them have somehow to be constructed in the classroom
20 INGLÉS
ENUNCIADOS

out of this primary experience of first language and culture. (27) They cannot be
replicated versions of native-speaker contexts of use. (28) Teachers who come from
the same community as their learners, of course, have this experience in common.
(29) They are therefore naturally in a better position to construct the relevant
classroom contexts and make the learning process real than are teachers coming
from a different linguistic and cultural background. (30) In this sense, autonomy is
dependent on non-native-speaker authority. (31)
It would seem, then, that you cannot have a pedagogy which is based on both of
these ideas at the same time. (32) Authentic language is, in principle, incompatible
with autonomous language learning. (33) Or is it? (34) Are there ways, in practice, of
reconciling these contraries? (35)
[From H. G. Widdowson: "Comment: authenticity and autonomy in ELT",
ELT Journal 50 (1996)]

Questions
1. Pick out all the adjectives from the fourth paragraph. Identify adjectival
suffixes and prefixes and indicate the suffixation process (e.g., denominal,
deverbal, etc.). Classify them into predicative (complement in copulative and
complex-transitive constructions) and/or attributive (pre-head modifier in
noun phrases).
2. Adjectives and participles. Which of the following words are verbs (participle
forms) and which are adjectives (deverbal adjectives), and which are
ambiguous between the two? Consider their use in the text and other possible
contexts: promoted, allowed, activated, engaged, induced, constructed, replicated.
3. Adverbialisation. Identify the adverbs in the second paragraph.
Replace those formed by suffixation of -ly by prepositional phrases
(e.g., carefully → with care), and, where possible, those without this suffix by
-ly adverbs (e.g., now → currently).
4. Identify the function of the adverbs in the second paragraph:
(i) adjunct (She sang beautifully); (ii) modifier in adjective phrase (The film is
extremely boring); disjunct (Obviously, they were all arrested); subjunct (She
was only joking); conjunct (Moreover, costs are high).
5. Analyse sentence (23).
6. "Speech acts" and "cohesion and coherence", comment the text from the
point of view of these theories.
20 INGLÉS
RESPUESTAS. Exercises

Grammar

3 AUTHENTICITY AND AUTONOMY IN ELT

Henry G Widdowson
Keys
1.
Adjectives: incompatible, contrary, real, likely, necessary, contextual, different, meaningful,
primary, replicated, same, good (better), relevant, cultural, dependant.
Suffixes: -al, -ful, -al (forming denominal adjectives).
Prefix: in- (class preserving).
Conversion: replicated (-ed deverbal adjectives).
Attributive & predicative: incompatible, real, necessary, contextual, different, meaningful,
primary, replicated, good, relevant, cultural, e.g., the real thing, this nightmare was real. Note:
some adjectives (contrary, likely, dependant) can be used attributely, and predicatively with some
restrictions (e.g., that they have a complement): The likely outcome, They were likely to win (but
*They were likely).
Attributive only: same.

2.
Participles share properties of verbs and adjectives. In some cases the boundary between
some verbal participles and deverbal adjectives is not sharply defined but we can use
grammatical criteria to distinguish between cases, such as the seriously wounded soldier
(attributive adjective) and the soldier was wounded by shrapnel (past participle in passive
construction).
Functional potential of adjectives:
(a) modifier in noun phrases: a promoted team, an allowed treatment, an activated electrode, an
engaged couple, an induced birth, a constructed text, replicated tests.

(b) predicative use:

(i) The device was activated by the pilot [passive]
(ii) The device was already activated [intensive]
Semantically, (i) describes an event while (ii) describes a state (resulting from a previous
event).

(c) verb BE: in intensive constructions, be is replaceable by such verbs as seem, look, etc., whereas be
as passive auxiliary is replaceable by get:
(i) Cells were (=seemed) activated [intensive]
(ii) Cells were (=got) activated [passive]

(d) gradability: past participles are non-gradable and central adjectives (good-better-best) are
typically gradable, but less central adjectives are non-gradable, as seen in all the examples in (a):
these deverbal adjectives can be used attributively but are non-gradable: *a very promoted team,
*a more allowed treatment.
In the text, all the underlined words are past participles with the exception of "replicated".
 INGLÉS 21
Linguistics

3.
Adverbs: contextually (in context), then (consequently), actually (in fact), how, thus, too, now
(currently), therefore (consequently), only* (solely), appropriately (in an appropriate way), so, no
longer. [Note that "only" is not a -ly adverb]

4.
Functions of adverbs: adjunct: now, appropriately; modifier in adjective phrase: contextually;
subjunct: actually, only, too, no longer; conjunct: therefore, thus, then, so. Note that "how" (7) can
be seen as a fusion of conjunction and adjunct introducing a nominal clause. Also note that
many adverbs can have more than one adverbial function: e.g., "now" is often a time adjunct
(answering the question when?) but it can be a transitional conjunct (Now, tell us about your
previous experience…); "actually" can be a subjunct (emphasizer: She wasn’t actually lying) or a
content disjunct (He was called Susan actually).

5.
This sentence has a complex transitive pattern. The lowest level of analysis has been simplified
("flattened") in the post-modification of adjectives so the two prepositional phrases "for native
speakers" and "for learners" remain unanalyzed. Complexity is found in the subject and the
subject complement of the main clause. Complexity in the subject is due to post-modification
of the noun head "language" by means of a relative clause which in turn includes a complex
adjective phrase as subject complement. The subject complement in the main clause is realized
by a second adjective phrase with a clausal dependant. Dependants in adjective phrases
can be divided into complements and modifiers. Complements generally take the form of
prepositional phrases (fond of jazz), content clauses (glad that you came) or infinitive clauses
(likely to be real). Complements are often obligatory (*This language is not likely), are normally
found in predicative position and depend on adjectives of the appropriate class. On the
contrary, modifiers involve the expression of degree (especially comparison with as, than) or
content clauses (with so), e.g., He was so bored that he kept yawning). Here the preposition "for"
does not depend on the adjective "real" and the meaning of the prepositional phrase is nearly
adverbial (≈according to native speakers) so both constituents have been considered modifiers.

6.
When mentioning the "speech acts theory", we are basically dealing with the most recently
accepted approach to second language acquisition, that is, the COMMUNICATIVE APPROACH.
Nowadays it is broadly accepted the communicative function of a language, the main goal of a
speech act is the possibility to communicate.
Chomsky, Hallyday’s theory of functions of language, Widdowson and Hymes’ theory of
communicative competence, Wilking’s communicative meanings, the Council of Europe,
Candlin, Brumfit, Keith Johnson, and other applied linguists on the theoretical basis for a
communicative or functional approach to language teaching, what came to be referred to as
the Communicative Approach, or simply Communicative Language Teaching, all have led to
the assumption of a final goal for the exchange of information. One of these theories mentions
Speech-acts (J.L. Austin How to Do Things With Words, 1962, and J.R. Searle) and considers the
types of acts that utterances can be said to perform:
22 INGLÉS
RESPUESTAS. Exercises

Locutionary acts: distinguishes the act of saying something, statements, requests, promises
and apologies are examples of the four major categories of communicative illocutionary acts:
constatives, directives, commissives and acknowledgments.
„ Illocutionary acts: what one does in saying it.
„ Perlocutionary acts: what one does by saying it, and dubs.

Making a statement may be the paradigmatic use of language, but there are all sorts of
other things we can do with words. We can make requests, ask questions, give orders,
make promises, give thanks, offer apologies, and so on. Moreover, almost any speech act
is really the performance of several acts at once, distinguished by different aspects of the
speaker’s intention: there is the act of saying something, what one does in saying it, such as
requesting or promising, and how one is trying to affect one’s audience. Speech acts are acts
of communication. To communicate is to express a certain attitude. The theory of speech acts
claims that people do more things with words than convey information.
Speech acts theory underscores the importance of the distinction between language use and
meaning (PRAGMATICS and SEMANTICS).
Cohesion and coherence on the other hand, describe the properties of written texts. Cohesion,
according to Ulla Connor in Contrastive Rhetoric: Cross-Cultural Aspects of Second-Language
Writing, is: "the use of explicit linguistic devices to signal relations between sentences and
parts of texts." These cohesive devices are phases or words that help the reader associate
previous statements with subsequent ones. Cohesion is the glue that holds a piece of
writing together. In Cohesion in English, M.A. Halliday and Ruqaiya Hasan identify five general
categories of cohesive devices that signal coherence in texts:
1. reference

2. ellipsis

3. substitution

4. lexical cohesion

5. conjunction

A text may be cohesive without necessarily being coherent: cohesion does not spawn
coherence. "Cohesion", Connor writes, "is determined by lexically and grammatically overt
intersentential relationships, whereas coherence is based on semantic relationships".
Cohesion can be thought of as all the grammatical and lexical links that link one part of a text
to another, as a means of establishing connections within a text at all sorts of different levels,
e.g., section, paragraphs, sentences and even phrases. Coherence is what makes texts make
sense to the reader. When sentences, ideas, and details fit together clearly, readers can follow
along easily, and the writing is coherent. The ideas tie together smoothly and clearly.
 INGLÉS 23
Linguistics

The text we are dealing with alludes to concepts like "cohesion and coherence",
"communicative competence", "autonomous learning", "communicative orientation to
language teaching", "authenticity", "real English" and concepts like the previous knowledge
of our students, appeal’s to student’s interests, interaction with problem solved tasks or
mistakes as being part of the learning process. The framework of the commentary alludes
directly to our everyday methodology based on the communicative approach and verbal and
not verbal context concluding that authentic language is incompatible with autonomous
language learning, is in this point when the role of the teachers is assumed to be crucial at the
time of selecting and identifying this authentic and motivating material which will lead into
interesting input for motivating students.
 INGLÉS 69
s t r a de LYSIS Text Analysis and Didactics
Mue XT ANA
d e TE TICS
rc i c i o D AC
eje AND DI Argumentative Text: Personal essay

34 NEVER DO THAT TO A BOOK

Anne Fadiman
(1998)

Read the text and answer the questions below:

When I was eleven and my brother was thirteen, our parents took us to Europe. At
the Hotel d’Angleterre in Copenhagen, as he had done virtually every night of his
literate life, Kim left a book facedown on the bedside table. The next afternoon, he
returned to find the book closed, a piece of paper inserted to mark the page, and the
following note, signed by the chambermaid, resting on its cover:
SIR, YOU MUST NEVER DO THAT TO A BOOK.
My brother was stunned. How could it have come to pass that he –a reader
so devoted that he´d sneaked a book and a flashlight under the covers at this
boarding school every night after lights-out, a crime punishable by a swat with a
wooden paddle– had been branded as someone who didn’t love books? I shared his
mortification. I could not imagine a more bibliolatrous family than the Fadimans.
Yet, with the exception of my mother, in the eyes of the young Danish maid we
would all have been found guilty of rampant book abuse.
During the next thirty years I came to realize that just as there is more than one way
to love a person, so is there more than one way to love a book. The chambermaid
believed in courtly love. A book’s physical self was sacrosanct to her, its form
inseparable from its content; her duty as a lover was Platonic adoration, a noble
but doomed attempt to conserve forever the state of perfect chastity in which it had
left the bookseller. The Fadiman family believed in carnal love. To us, a book’s words
were holy, but the paper, cloth, cardboard, glue, thread, and ink that contained
them were a mere vessel, and it was no sacrilege to treat them as wantonly as desire
and pragmatism dictated. Hard use was a sign not of disrespect but of intimacy.
Hillarie Belloc, a courtly lover, once wrote:
Child! do not throw this book about;
Refrain from the unholy pleasure
Of cutting all the pictures out!
Preserve it as your chiefest treasure.
What would Belloc have thought of my father, who, in order to reduce the weight
of the paperbacks he read on airplanes, tore off the chapters he had completed and
threw them in the trash? What would he have thought of my husband, who reads
in the sauna, where heat-fissioned pages drop like petals in a storm? What would
he have thought (here I am making a brazen attempt to upgrade my family by
association) of Thomas Jefferson, who chopped up a priceless 1572 first edition of
Plutarch’s works in Greek in order to interleave its pages with an English translation?
Or of my old editor Byron Dobell, who, when he was researching an article on the
Grand Tour, once stayed up all night reading six volumes of Boswell’s journals and,
as he puts it, "sucked them like a giant mongoose"? Byron told me, "I didn’t give
a damn about the condition of those volumes. In order to get where I had to go,
70 INGLÉS
ENUNCIADOS

I underlined them, wrote in them, shredded them, dropped them, tore them into
pieces, and did things to them that we can’t discuss in public."
Byron loves books. Really, he does. So does my husband, an incorrigible book-
splayer whose roommate once informed him. "George, if you ever break the spine of
one of my books, I want you to know you might as well be breaking my own spine."
So does Kim, who reports that despite his experience in Copenhagen, his bedside
table currently supports three spreadeagled volumes. "They are ready in an instant
to let me pick them up," he explains. "To use an electronics analogy, closing a book
on a bookmark is like pressing the Stop button, whereas when you leave the book
facedown, you’ve only pressed Pause." I confess to marking my place promiscuously,
sometimes splaying, sometimes committing the even more grievous sin of dog-
earing the page. (Here I manage to be simultaneously abusive and compulsive:
I turn down the upper corner for page-marking and the lower corner to identify
passages I want to xerox for my commonplace book.)
All courtly lovers press Stop. My Aunt Carol –who will probably claim she is no
relation once she finds out how I treat my books– places reproductions of Audubon
paintings horizontally to mark the exact paragraph where she left off. If the colored
side is up, she was reading the lefthand page; if it’s down, the righthand page. A
college classmate of mine, a lawyer, uses his business cards, spurning his wife’s
silver Tiffany bookmarks because they are a few microns too thick and might leave
vestigial stigmata. Another classmate, an art historian, favors Paris Métro tickets or
"those inkjet-printed credit cards receipts –but only in books of art criticism whose
pretentiousness I wish to desecrate with something really crass and financial. I
would never use those in fiction or poetry, which really are sacred."
Courtly lovers always remove their bookmarks when the assignation is over; carnal
lovers are likely to leave romantic mementos, often three-dimensional and messy.
Birds of Yosemite and the East Slope, a volume belonging to a science writer friend,
harbors an owl feather and the tip of a squirrel’s tail, evidence of a crime scene near
Tioga Pass. A book critic I know took The Collected Stories and Poems of Edgar Allan
Poe on a backpacking trip through the Yucatán, and whenever an interesting bug
landed in it, she clapped the covers shut. She amassed such a bulging insectarium
that she feared Poe might not make it through customs. (He did.)
From: Ex Libris, Confessions of a Common reader (1998)

Questions
1. Text type, genre and functions of language.
2. Find examples of compound words, derivational affixes, irregular plurals and
borrowings.
3. Find anaphoric, cataphoric and exophoric references.
4. British and American spelling variants in the text.
5. Explain the final sentence.
6. Explain the meaning of these words according to the text: rampant, wantonly,
shredded, dog-earing the page.
 Argumentative Text: Personal essay

34 NEVER DO THAT TO A BOOK

Anne Fadiman
(1998)

Keys
1.
This is an argumentative text because of two main reasons: primarily, its contextual focus
is the relationship between the author’s ideas and concepts, which we can clearly see here;
secondly, the communicative intention of the author is to give and rebate opinions, to change
the reader’s point of view, and, of course, we can also find some linguistic features. The main
language function is the conative one, since the text aims to provoke a reaction on readers, to
make them have an opinion.
As for the functions of language, the main one is referential, as the author describes a
situation, context and mental state, as well as conative, the typical one in argumentation.
Secondarily, we can find the poetic function by means of sarcasm and alliteration, allusions
and hyperbole, parenthesis and hypophora (a type of rhetorical question).
As for the genre, it is a personal essay. Personal essays include dialogue, metaphors,
description, characterization, conflict, conspiracy, and setting. They are autobiographical,
and so written in an "I" point-of-view, where the writer describes an event that resulted in
some personal improvement and those are features that we can clearly find in the text.
In most personal essays, there is an attention grabber, usually in the first paragraph, some
kind of narration which appeals to the reader. The author is going to introduce her thesis
statement, or her strong opinion about something: "During the next thirty years I came to
realize that just as there is more than one way to love a person, so is there more than one
way to love a book". At some point, before the summary and conclusion, there should be a
restatement of the thesis, where the author is reinforcing her opinion: "Courtly lovers always
remove their bookmarks when the assignation is over; carnal lovers are likely to leave romantic
mementos, often three-dimensional and messy". According to W. Maccoun, together with the
introduction, explanation of the case under consideration, outline of the argument, proof,
refutation, and conclusion, we should find pros and cons, which is a zig-zag personal essay.

2.
As compound nouns: facedown, chambermaid, paperback, underlined, roommate…
As derivational affixes: grievous, editor or compulsive.
Irregular plurals: insectariums, which is not only irregular plural but also borrowing, as well as
stigmata.
 INGLÉS 145
Text Analysis and Didactics

3.
An example of cataphoric reference is: "as he had done virtually every night of his literate life,
Kim left a book facedown on the bedside table". Cataphoric reference is made because the
pronoun is making reference to something which is going to appear later: Kim.
There is anaphoric reference between "Belloc" and "he" in: "What would Belloc have thought
of my father, who, in order to reduce the weight of the paperbacks he read on airplanes, tore
off the chapters he had completed and threw them in the trash? What would he have thought
of my husband…?"
There are exophoric references in every single allusion to authors and other public figures:
Thomas Jefferson…

4.
In most of the cases, we know the author is American because of the choice of vocabulary
and spelling: trash (UK ‘rubbish’), roommate (UK ‘flatmate’), favor (UK ‘favour’), colored (UK
‘coloured’), among some others.

5.
He did: ellipsis, in terms of cohesion, according to Halliday and Hassan, making reference to the
verb in the previous sentence: He actually made it through customs.

6.
„ Rampant: profusely widespread.
„ Wantonly: without motive, check or limitation.
„ Shredded: cut, torn.
„ Dog-earing the page: turning down the corner of the page in a book.
 INGLÉS 91
Language Skills

s t r a de
Mue SKILLS
ING
WRIT Writing Skills

WRITING SKILLS: AN ESSAY

Essays are scholarly pieces of writing giving the author’s own argument. Due
to their characteristics, essays sometimes overlap with those of an article,
a pamphlet or even a short story. They include literary criticism, political
manifestos, learned arguments, observations of daily life, recollections and
reflections of an author.
There are some questions to think about before beginning to write any text:
1. Why I am writing?
2. Who am I writing to?
3. What is the best style to write in?
4. What points should I include?
5. How should the piece of writing be organized?
6. How will the target reader feel after reading it?
In order to get our aims, we should follow certain steps, being aware of the
main features that describe the given written text. We recommend:
1. Draft your text, in this case, essay.
One option to write an essay is to divide the text into the following points:
1. Introduction: a brief introduction.
2. Arguments in favour.
3. Arguments against.
4. Conclusion.
2. Edit the text, cutting any irrelevant information and making sure it is the
right length.
92 INGLÉS
ENUNCIADOS

3. Check the article for mistakes in grammar, spelling, punctuation and

register.
When we write an essay, we may write a balanced essay or a taking sides essay. In
any case, it is very important to explain and develop the evidence or evidences
that show that what is described in our thesis is true.
Here we present other useful expressions and linking words to write a text:
BALANCED ESSAY:
• First and most importantly…
• One disadvantage…another drawback…
• In addition…
• What is more…
• Not only that, but…
• Another point in favour of…
• … can result in…
• … can lead to…
• Because of / Due to…
• On balance…
• On the whole…
• All in all…
TAKING SIDES:
Giving personal opinions
• I feel that…
• I believe that…
• In my view…
• In my opinion…
• Personally, I think that…
Expressing opposite arguments
• Some people argue…
• It is often claimed that…
• There are those who say…
• Refuting arguments…
• This may have been true in the past, but nowadays…
• There are a great number of flaws in this argument…
• This is (simply) not the case…
REMEMBER:
• When you are writing, be aware of the time; leave a few minutes to check
your work at the end.
• Make sure your answer is relevant.
• Make sure you cover all the points.
• Your handwriting should be clear enough to read easily.
• Check that your work does not exceed or fall short of the word limit.
 s t r a de
Mue NING
LISTE
Listening

10 RUTH CHANG: HOW TO MAKE HARD CHOICES

1. Fill in the gaps with the word or words you hear.

1.1 Hard choices seem to be occasions for __________, hand-__________, the __________ of
teeth.
1.2 Realizing that small choices can also be hard, may make big hard choices seem less
__________.
1.3 Well, that ________ me as the _________ of extravagance and frivolity.
1.4 We’re _________ the merits of two jobs, after all, not the merits of the number nine and a
________ of fried eggs.
1.5 When we create reasons for ourselves to become this kind of person rather than that, we
________________ become the people that we are.

2. Answer the questions.

2.1 How could you define what a hard choice is?
2.2 How does the speaker illustrate hard choices?
2.3 What is the personal example the speaker gives?
2.4 What is the delusion about hard choices?
2.5 Why does the speaker give the example of the two jobs, the banker and the artist?
2.6 What is the problem with values?
2.7 What does the speaker say about reasons?
2.8 Explain the response people have in hard choices.

3. Write a summary.
 Listening

10 RUTH CHANG: HOW TO MAKE HARD CHOICES

Keys

1.
1.1 agonizing
(hand-)wringing
gnashing
1.2 intractable
1.3 struck
height
1.4 weighing
plate
1.5 wholeheartedly

2.
2.1 What makes a choice hard is the way the alternatives relate. In a hard choice one
alternative is better in some ways, the other alternative is better in other ways, and
neither is better than the other overall.
2.2 She illustrates what a hard choice can be by giving the example of choosing between
having a high fibre bran cereal or a chocolate donut for breakfast.
2.3 When she graduated from college, she could not decide between two careers,
Philosophy and Law. She came from a modest immigrant family. She made a for and
against list for each alternative. She took the safest option.
2.4 It is a mistake to think that in hard choices one alternative is really better than the
other. They are hard because there is no best option.
2.5 To prove that the two options are not equally good. She asks the audience if one of INGLÉS 31
ENUNCIADOS. Language skills. Proficiency
the jobs would be better if it had a higher salary than the other and she comes to the
conclusion that not necessarily. Then, she goes one step further and explains that
this is because the two original jobs could not have been equally good.
2.6 Values cannot be measured scientifically. We tend to assume that scientific thinking
holds the key to everything, but the world of values cannot be quantified.
2.7 Everyone has the power to create reasons. If we lived in a world of only easy choices,
we would feel enslaved to reasons. When alternatives are on a par, the reasons given
to us, the ones that determine whether we are making a mistake, are silent as to
what to do. It is when we come to hard choices that we exercise the power to create
reasons for oneself.
2.8 It is a rational response and it is not dictated by reasons given to us. Rather, it is
supported by reasons created by us.

3.
OPEN ANSWER

Ruth Chang is a philosopher at Rutgers University. Her work focuses on how we make the
decisions that shape our lives. In this TED talk, she talks about how we make hard choices
and in the process offers a framework for making decisions consistent with who we truly
are.
 we would feel enslaved to reasons. When alternatives are on a par, the reasons given
to us, the ones that determine whether we are making a mistake, are silent as to
what to do. It is when we come to hard choices that we exercise the power to create
reasons for oneself.
2.8 It is a rational response and it is not dictated by reasons given to us. Rather, it is
supported by reasons created by us.

3.
OPEN ANSWER

Ruth Chang is a philosopher at Rutgers University. Her work focuses on how we make the
decisions that shape our lives. In this TED talk, she talks about how we make hard choices
and in the process offers a framework for making decisions consistent with who we truly
are.
 INGLÉS 29
s t r a de ENUNCIADOS. Language skills. Proficiency
Mue ING
READ
Reading

5 THE LONG ECHO OF WW2 TRAUMA

Read this article and answer the questions below.

World War One and Vietnam are the wars most closely associated with post-traumatic
stress - but it was also a huge problem for the combatants in World War Two, and one
that may still be affecting their children and grandchildren today.
At the end of the 1962 film, The Longest Day, a young American paratrooper shares a
cigarette somewhere in Normandy with a British fighter pilot, played by Richard Burton.
It's a meeting of innocence and experience. Burton's character has been fighting since
the Blitz but has finally received a wound that will end his war. For the hapless Pte
Arthur "Dutch" Schultz, on the other hand, it's all just beginning. After landing in a tree
miles from his intended drop zone, he's spent his first day of combat searching for his
unit, walking towards the sound of fighting, but never reaching it. He hasn't yet fired a
shot in anger.
The real Dutch Schultz's D-Day bore little comparison. It's true he was dropped in
the wrong place, but after making contact with other wandering soldiers he soon
came under fierce mortar fire and witnessed the mercy killing of a horribly wounded
US soldier. By evening he was engaged in a bitter battle for control of a bridge near
the town of Sainte-Mère-Église, which continued for four days until German forces
eventually withdrew.
In the Netherlands in September 1944, Schultz frantically prayed with his rosary as his
company commander died in front of him. For two weeks that winter he was treated in
hospital for pneumonia; when he returned more than half his regiment had been killed
in the Battle of the Bulge. The horrors culminated in the liberation of the Wöbbelin
concentration camp, where he later said "it was difficult to distinguish the living from
the dead".
Whether or not the irrepressible boy-next-door played by actor Richard Beymer in
The Longest Day bore any relation to the real Schultz who parachuted into France, the
man who returned home to the US was entirely different. The happy-go-lucky joker his
girlfriend had been waiting for since 1943 had turned sombre and melancholy. After
they married in December 1945, she had her first experience of his nightmares - as they
travelled west by train to visit his parents, he shouted in his sleep and tried to climb out
of the window. She also noticed that he had began to swig regularly from a flask.
"My father was a functioning alcoholic," says Schultz's daughter, Carol Schultz Vento. "It
was self-medicating, really."
The dominant narrative at this time was relentlessly upbeat, she says. The heroes of
World War Two were now building a prosperous post-war society. People who remarked
upon the large numbers of marriages in the immediate post-war period tended not to
mention the record number of divorces. The fact that veterans' hospitals were full of
men with serious mental health problems went undiscussed. The movies of the 50s and
60s did not depict the reality of war.
30 INGLÉS

"People did not want to know what it was like," her father told her.
Unlike some troubled veterans, Dutch Schultz was never violent and didn't fly into
rages. When he was drunk he was "either goofy or crying", Carol says.
But his nightmares continued for the rest of his life. Carol's mother described routinely
waking up to find not only the sheets but also the mattress soaked in sweat. After they
divorced, Schultz called Carol one night, sobbing down the phone line. His new wife
had tried to slit her wrists in the bath and Schultz said he now wanted to kill himself.
He had been a terrible father, he said; Carol told him this wasn't true. Years later she
learned that he had been holding a gun to his head as they spoke.
After this Schultz went into rehab and built a career running anti-alcohol and anti-
addiction programmes. He fought continuously to persuade the Department of
Veterans Affairs to recognise and treat the psychological wounds he had brought back
from the war, winning this battle only at the age of 80 - two years before he died.
After the existence of post-traumatic stress disorder (PTSD) was officially recognised
by the US government in 1980, in the wake of Vietnam, researchers began to take an
interest on the illness on soldiers' families. Studies were already suggesting that the
children of Holocaust survivors could be severely affected by the trauma experienced
by their parents. "It would also be easier to believe that they, rather than their parents,
had suffered the corrupting, searing hell," wrote the author of the first paper on
intergenerational trauma among Holocaust survivors.
There has been very little comparable work on the families of traumatised WW2
veterans, but one 1986 paper by Robert Rosenheck, focusing on the families of five men
receiving treatment for chronic PTSD, suggested a range of possible outcomes.
"For some of the veterans' offspring," he wrote, "it was as if they were… constantly
embroiled in a shared emotional cauldron."
For these children, life was a series of anticipations of and reactions to their father's
moods, impulses and obsessions. For some it resulted in a preoccupation with surviving
danger or winning fights - "a virtual mirroring of issues preoccupying their fathers". For
others, "the intense emotional involvement consisted of frantic efforts to keep their
father calm, out of trouble, and in as good spirits as possible".
According to researchers from the Centre for Military Health Research at King's College,
London, there is now a consensus that a close relationship exists between the incidence
of death and injury on the battlefield and the number of psychiatric casualties, though
it may be mediated by the nature of the fighting, the morale of the troops and the
quality of leadership.
Treatment close to the front was extremely limited. Soldiers were given sedatives to
knock them out and enable them to sleep. Then they were given good food, a wash
and reassurance. They were described as being "exhausted" - a deliberate attempt to
demedicalise the condition. It was thought that the term "shell shock" used in World
War One had encouraged men to believe that they were ill, and set back a natural
recovery process.
Despite claims at the time that a large proportion of those treated for exhaustion in
Normandy returned to their units, Prof Edgar Jones of the King's Centre for Military
Health Research and Stephen Ironside have calculated that only 1% went directly back
into action. Some of the rest will have returned to combat after a period of further
convalescence. Others were directed into non-combat roles or sent home.
 INGLÉS 31
ENUNCIADOS. Language skills. Proficiency

1. Multiple choice
1.1 What happened to Pte Arthur “Dutch” Schultz during his first day of combat in the 1962
film The Longest Day?
a. He landed 3 miles from his intended drop zone.
b. He got a little bored during his D-Day.
c. He witnessed the mercy killing of a horribly wounded US soldier.
d. He shares a cigarette with an experienced fighter pilot.

1.2 What was the main reason Schultz’s daughter, Carol Schultz, worried about her father’s
drinking habits?
a. He was having nightmares and putting his life at risk on a regular basis.
b. He could try to kill himself.
c. He was goofy or crying all the time whenever he was drunk.
d. She was not particularly worried about that.

1.3 What would be the most accurate comparison between WW1 and WW2 mentioned in the
text?
a. There were more WW1 veterans treated from PTSD than in WW2.
b. The horror of what WW2 was really like was not advertised much.
c. WW2 and WW1 were basically equal in PTSD cases. However, it was deliberately not
discussed much after WW2 as an attempt to build a prosperous post-war society.
d. Both had similar consequences of the Vietnam War.

1.4 What important footprint has Schultz left in the world?

a. The recognition and treatment of PTSD as a serious issue.
b. A Hollywood movie that let people know what happened during WW2.
c. The awareness that WW2 had a much darker side that was not shown to people.
d. The first suspicions that some veteran’s offspring needed the same psychiatric
attention their fathers did.

1.5 What happened to most soldiers treated for exhaustion in Normandy?

a. Once healed, they returned to their units.
b. The minority of them were in good shape to return to their units.
c. 99% of them were directed into non-military roles.
d. Some were directed into non-military roles and others sent home.

1.6 What did it mean to be “exhausted” for the soldiers of WW2?

a. An avoidance to recognize they were suffering from a psychiatric condition.
b. An extreme need for rest.
c. A situation where the soldiers needed medication to be able to sleep.
d. An attempt to save on medication by giving them only food, a wash and reassurance.
32 INGLÉS

2. Questions
2.1. Briefly classify the text according to its typology, genre, style and the communicator’s
intention.
2.2 Find five borrowings in the text and give their origin.
2.3 Define the following terms:
a. mortar
b. swig
c. upbeat
d. goofy
e. searing
f. offspring

2.4 Look for synonyms of these words in the text:

a. woeful
b. drifting
c. gloomy
d. entangled
e. slash

2.5 Write the phonetic transcription of these words:

a. flask
b. rages
c. soaked
d. wake
e. cauldron

2.6 Explain the word-formation processes involved in the creation of the underlined terms:
a. The real Dutch Schultz's D-Day bore little comparison.
b. The heroes of World War Two were now building a prosperous post-war society.
INGLÉS 33
c. After this Schultz went into rehab and built a career running anti-alcohol and anti-
ENUNCIADOS. Language skills. Proficiency
addiction programmes.

2.7 What word-formation processes can we find in English?

2.8 Find the connector or expression from the text for these definitions:
a. Used to connect grammatically coordinate words, phrases, or clauses; along or
together with.
b. Used to introduce a statement that means that something is the contrary.
c. It introduces an item that opposes one that has just been introduced.
d. You use this word to introduce a fact which makes the other part of the sentence
surprising.

2.9 Find homophones in the text for these words:

a. weaks
b. clime
 a. Used to connect grammatically coordinate words, phrases, or clauses; along or
together with.
b. Used to introduce a statement that means that something is the contrary.
c. It introduces an item that opposes one that has just been introduced.
INGLÉS 17
d. You use this word to introduce a fact whichENUNCIADOS. Language
makes the other partskills.
of theProficiency
sentence
surprising.

2.9 Find homophones in the text for these words:

a. weaks
Reading
b. clime

5 THE LONG ECHO OF WW2 TRAUMA

c. thyme
d. whirr

2.10 Summarize the text in one sentence.

Keys

1.
1.1
d. He shares a cigarette with an experienced fighter pilot.

1.2
d. She was not particularly worried about that.

1.3
b. The horror of what WW2 was really like was not advertised much.

1.4
a. The recognition and treatment of PTSD as a serious issue.

1.5
b. The minority of them were in good shape to return to their units.

1.6
a. An avoidance to recognize they were suffering from a psychiatric condition.

2.
2.1
Text type: narrative.
Genre: feature story.
Style: standard English.
Communicator’s intention: to deepen into the unknown aspects of WW2. To make people
aware of the horrors of war and the unreliability of war films of the 50s and 60s.
18 INGLÉS

2.2
Cigarette: from French.
Pneumonia: from Greek.
Holocaust: from Greek, and then from Latin.
Trauma: from Greek.
Consensus: from Latin.

2.3
a) mortar: a very short cannon for throwing shells at high angles / a bowl-shaped
container in which substances can be pounded or ground with a pestle.
b) swig: to drink in a large swallow or greedily.
c) upbeat: optimistic; happy; cheerful.
d) goofy: foolish; silly; ridiculous.
e) searing: causing a sharp feeling of burning or as if burning.
f) offspring: children or young of a particular parent; descendants.

2.4
a) woeful: hapless
b) drifting: wandering
c) gloomy: sombre
d) entangled: embroiled
e) slash: slit

2.5
a) /ˈflɑːsk/, /ˈflæsk/
b) /ˈreɪʤɪz/
c) /ˈsəʊkt/
d) /ˈweɪk/
e) /ˈkɔːldrən/

2.6
a) It is an acronym, as the initial D refers to the word day. It is also a hyphenated
compound, composed of the acronym “D” and the noun “day”.
b) “World War Two” is an open compound formed by nouns.
We find in “prosperous” the derivational suffix -ous, which means possessing, full of.
“Post-war” is a hyphenated compound formed by the prefix “post” and the noun “war”.
c) “Rehab” is an example of clipping, as it comes from the noun “rehabilitation”. Clipping
is word formation process which consists in the reduction of a word to one of its parts.
We find prefixation in “anti-alcohol” and “anti-addiction” where the prefix anti- adds
the meaning of opposition.
 INGLÉS 19
ENUNCIADOS. Language skills. Proficiency

2.7
Compounding: Compounding forms a word out of two or more root morphemes.
Derivation: Derivation is the creation of words by modification of a root without the
addition of other roots. Often the effect is a change in part of speech.
Affixation (subtype of derivation): The most common type of derivation is the addition
of one or more affixes to a root, as in the word derivation itself. This process is called
affixation, a term which covers both prefixation and suffixation.
Blending: It is especially creative in that speakers take two words and merge them based
not on morpheme structure but on sound structure. The resulting words are called blends.
Clipping: Clipping is a type of abbreviation of a word in which one part is 'clipped' off the
rest, and the remaining word now means essentially the same thing as what the whole
word means or meant.
Acronyms: Acronyms are formed by taking the initial letters of a phrase and making a
word out of it.
Reanalysis: Sometimes speakers unconsciously change the morphological boundaries
of a word, creating a new morph or making an old one unrecognizable. This happened
in hamburger, which was originally Hamburger steak 'chopped and formed steak in the
Hamburg style, then hamburger (hamburg + er), then ham + burger.
Analogy: Sometimes speakers take an existing word as a model and form other words
using some of its morphemes as a fixed part, and changing one of them to something
new, with an analogically similar meaning. Cheeseburger was formed on the analogy of
hamburger.
Novel creation: In novel creation, a speaker or writer forms a word without starting from
other morphemes.
Creative respelling: Sometimes words are formed by simply changing the spelling of
a word that the speaker wants to relate to the new word. Product names often involve
creative respelling, such as Mr. Kleen.
Borrowing: Borrowing is just taking a word from another language. The borrowed words
are called loan words. A loanword (or loan word) is a word directly taken into one language
from another with little or no translation. A calque or loan translation is a related concept
whereby it is the meaning or idiom that is borrowed rather than the lexical item itself.
Coinage: Coinage is the invention of totally new words.
Backformation: back-formation is the process of creating a new lexeme by removing
actual or supposed affixes. Back-formations are shortened words created from longer
words (television-televise / editor-edit).
Conversion: It is a process that assigns an existing word to a different word class, part of
speech, or syntactic category.
Reduplication: A reduplicative is a word or lexeme (such as mama) that contains two
identical or very similar parts. Words such as these are also called tautonyms.
Eponym: An eponym is a word that is derived from the proper name of a real or mythical
person or place. For example, Sandwich, named after John Montagu, the Fourth Earl of
Sandwich (1718–1792), a British politician.
20 INGLÉS

2.8
a) and
b) but
c) on the other hand
d) despite

2.9
a) weaks: weeks
b) clime: climb
c) thyme: time
d) whirr: where

2.10
OPEN ASNWER
 INGLÉS 11
s t r a de IONS Translations
Mue ANSLAT
TR
icio de
ejerc Translation and teaching strategies

3 THE LORD OF THE RINGS

J. R. R. Tolkien

Book I. "Fog in the Barrow-Downs"

Their way wound along the floor of the hollow,
and round the green feet of a steep hill into
another deeper and broader valley, and then
over the shoulder of further hills, and down
their long limbs, and up their smooth sides
again, up on to new hill-tops and down into
new valleys. There was no tree nor any visible
water: it was a country of grass and short
springy turf, silent except for the whisper of
the air over the edges of the land, and high
lonely cries of strange birds. As they journeyed
the sun mounted, and grew hot. Each time they
climbed a ridge the breeze seemed to have
grown less. When they caught a glimpse of the country westward the distant
Forest seemed to be smoking, as if the fallen rain was steaming up again from
leaf and root and mould. A shadow now lay round the edge of sight, a dark
haze above which the upper sky was like a blue cap, hot and heavy.
About mid-day they came to a hill whose top was wide and flattened, like a
shallow saucer with a green mounded rim. Inside there was no air stirring, and
the sky seemed near their heads. They rode across and looked northwards.
Then their hearts rose, for it seemed plain that they had come further already
than they had expected. Certainly the distances had now all become hazy and
deceptive, but there could be no doubt that the Downs were coming to an end.
A long valley lay below them winding away northwards, until it came to an
opening between two steep shoulders. Beyond, there seemed to be no more
hills. Due north they faintly glimpsed a long dark line.
That is a line of trees,’ said Merry, ‘and that must mark the Road. All along it for
many leagues east of the Bridge there are trees growing. Some say they were
planted in the old days.’
‘Splendid!’ said Frodo. ‘If we make as good going this afternoon as we have
done this morning, we shall have left the Downs before the Sun sets and be
jogging on in search of a camping place.’
But even as he spoke he turned his glance eastwards, and he saw that on that
side the hills were higher and looked down upon them; and all those hills were
crowned with green mounds, and on some were standing stones, pointing
upwards like jagged teeth out of green gums.
12 INGLÉS
ENUNCIADOS

SUMMARY
Tolkien was a praiseworthy narrator who took the time necessary to carefully
describe all those places in his imaginary world over which the main characters
of The Lord of the Rings go. In fact, one of the first things he did in order to
successfully conduct its plot was to draw a map of the fictional setting in which
it takes place: Middle-earth. Such an effort is clearly seen in the above passage,
which is written in the third person as many other fiction narratives are. A
translation should try to make it easier for the reader to follow the characters
on their way east from the Old Forest while attempting, at the same time, to
maintain the style of the original.

Questions
1. Read the excerpt carefully trying to picture the scene. One of the purposes
of this excerpt is to make it easy for the reader to locate the characters
geographically. But this passage also introduces some elements of suspense.
Could you point them out?
2. In what way does the long underlined sentence relate to what it describes?
3. Mark the following translations 1, 2, 3, in order of your preference in the
context. Mark X beside any you consider unacceptable. Give a better version
if you can think of one:
a) When they caught a glimpse of the country westward
Cuando echaron un vistazo hacia el oeste
Cuando vislumbraron las regiones orientales
Cuando cogieron un atisbo de la región hacia el oeste
b) the distant Forest seemed to be smoking
el Bosque distante parecía estar humeando
 el Bosque parecía estar humeando en lontananza
el Bosque, distante, parecía estar fumando/ahumado
c) Inside there was no air stirring
Dentro no había aire agitándose
En el interior el aire brillaba por su ausencia
Dentro no corría el aire
d) pointing upwards like jagged teeth
apuntando hacia arriba como dientes mellados
apuntando hacia arriba como colmillos
apuntando hacia arriba como los dientes de una sierra
e) But even as he spoke he turned his glance eastwards
Pero aun mientras hablaba se volvió para mirar al este
Pero aun mientras hablaba echó una ojeada hacia el este
Pero aun mientras hablaba giró su vista al este
 INGLÉS 13
Translations

4. Could you give an appropriate definition for every item in each of the
following groups of words?
a) whisper – cry
b) grass – turf
c) glimpse – glance – sight
d) hollow – valley – hill
5. As has been pointed out, the accurate placement of his characters on a map
was essential for Tolkien in order to conduct the plot of his literary works.
Could you draw a simple map of the above passage on which the Forest,
the hills they are climbing, and the line of trees which marks the Road are
represented? Mark with a dot the hill on which the characters are when Frodo
looks eastwards towards the higher hills.
6. The meaning of adjectives. Can you match the adjectives in A with their
opposites in B?
a) springy, flattened, steep, plain, shallow, heavy, hazy, deceptive
b) deep, inelastic, light, real, clear, unobvious, gradual, sharpened
7. Translate into Spanish the following sentences from the text:
a) A shadow now lay round the edge of sight, a dark haze above which the
upper sky was like a blue cap, hot and heavy.
b) A long valley lay below them winding away northwards, until it came to an
opening between two steep shoulders.
c) If we make as good going this afternoon as we have done this morning, we
shall have left the Downs before the Sun sets and be jogging on in search
of a camping place.
8. "The Lord of the Rings" in the classroom. Justify the use of this material in a
ESO session.
 Translation and teaching strategies

3 THE LORD OF THE RINGS

J. R. R. Tolkien

Keys
1.
The dark haze upon the distant forest, the higher hills on the east side of the Downs looking
down on them, and the jagged teeth on the mounds.

2.
In this sentence, both meaning and form correlate perfectly: the winding way through the hills
is described by means of a long, winding sentence made up of different clauses.

3.
This exercise is not intended for students to find the right answer. Instead, the dis/advantages
of every version should be weighed and, if possible, other translations should be considered.
Suggested answers: a) 1-x-x; b) 2-1-x; c) 2-3-1; d) x-1-2; e) 3-1-2

4.

a) These are opposite terms: a whisper is a low quiet voice and a cry is a loud sound uttered to
express a strong feeling.

b) Grass is the generic name for many different plants which have narrow green leaves and
turf is a shorter kind of grass. Generic-specific.

c) Glimpse and glance are near synonyms: both refer to a look at someone or something for a
brief period of time. Sight is the physical ability to see.
INGLÉS 13
Translations
d) Hill and valley are antonyms, since the former refers to an area of land which is higher
than the land which surrounds it and the latter is an area of low land between hills and
mountains. A hollow is a small valley.

5.

6.
Springy-inelastic; flattened-sharpened; steep-gradual; plain-unobvious; shallow-deep; heavy-
light; hazy-clear; deceptive-real.
 6.
Springy-inelastic; flattened-sharpened; steep-gradual; plain-unobvious; shallow-deep; heavy-
light; hazy-clear; deceptive-real.

7.

a) Una sombra yacía ahora hasta donde alcanzaba la vista, una bruma oscura sobre la cual el
cielo era como un gorro azul, caliente y pesado.

b) Un largo valle yacía bajo ellos, se abría ante sus ojos y se alejaba serpenteando,
deslizándose, hacia el norte, hasta llegar a una abertura entre dos abruptas lomas.

c) Si avanzamos esta tarde tan bien como lo hemos hecho esta mañana, habremos dejado
atrás las colinas antes de que se ponga el sol y estaremos buscando al trote corto un lugar
donde acampar.

8.
What we have here is an extract of The Lords of the Rings, a 20th century work of fiction by
J. R. R. Tolkien. This work is suitable to be used in the classroom mainly due to its popularity
and the visual support available thanks to the movies by Peter Jackson, comics, magazines,
blogs, and plenty of information about the whole Tolkien maze.
14 INGLÉSCharacters are also very identifiable, very Shakespearean, tragic heroes summoned by their
RESPUESTAS
fate; creator of language (elf’s language, terminology), and it is considered a modern classic,
children love the environment of the situation and will easily be keen to participate in any
activity that we might propose on the topic.
We are choosing this material because, taking into account the key competences included
in the LOMLOE and the curriculum, we have to make use of English as a vehicle for
communication, which will be really effective only through authentic, motivating and updated
material appealing to our students and according to their interest.
According to RD 217/2022, of march 29th, in line with the action-oriented approach of
the CEFR, which contributes significantly to the design of eclectic methodologies, the
competence-based nature of this curriculum invites teachers to create interdisciplinary,
contextualised, meaningful and relevant tasks.
Moreover, the 4 skills are going to be included in the contents of the activities proposed:
speaking (debates, opinions, descriptions, conversations), texts (reading), writing (summing
up, opinions, vocabulary) and listening (watching of the movies).
Despite this is a reading task mainly, listening is also very important. Nevertheless, we are
going to focus on the autonomous reading, trying to implement a reading routine, paying
special attention to the students' responsibility for their own learning. Vocabulary is very
important, we will foster descriptions of places and situations, inner thoughts, and, most of all,
the appreciation of literary works as a source for autonomous learning and future enrichment.
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