Katherine Clifton

Clifton Katherine

Jo-Ann Costa

Costa Jo-Ann

Chiaretta Gelli

Gelli Chiaretta

&nbsp;Scheda dell'opera
 Un manuale di ‘civiltà’ inglese di livello B1-B2 che mette a fuoco, secondo un’ottica interculturale, gli aspetti più significativi dei paesi in cui la lingua inglese è parlata.
 
 Un manuale di ‘civiltà’ inglese di livello B1-B2 che si propone di mettere a fuoco, secondo un’ottica interculturale, gli aspetti più significativi dei paesi in cui la lingua inglese è parlata.
 
 I 12 Moduli e le relative 36 Unità in cui è suddiviso ESCAPES offrono una visione globale e globalizzata del mondo in cui l’inglese è parlato come L1 o L2 o come lingua veicolare, cogliendone gli aspetti reali, ma anche fornendo occasioni di "fuga dalla realtà" attraverso la letteratura e il cinema.
 
 Il testo è particolarmente innovativo e motivante in quanto ogni Modulo, nel trattare le diverse culture di lingua inglese sotto l’aspetto geografico, storico, sociale, letterario e artistico, fa sempre riferimento ad un film particolarmente significativo per l’argomento trattato. Inoltre, offre molteplici occasioni di rinforzo ed approfondimento grazie ai siti Internet citati punto per punto e al materiale autentico e aggiornato tratto da riviste, quotidiani e dalla “rete”.
 Le attività, infine, sono sempre mirate, oltre che a sviluppare le abilità ricettive e produttive, a stimolare l’attività di gruppo e di classe ed il confronto delle opinioni. Particolare attenzione è stata rivolta agli esercizi riguardanti i film.

Module 1 - English in the world

Unit 1- Today’s lingua franca

Unit 2 - The rise and decline of the British Empire

Unit 3 - The fall of the British Empire

Film Spanglish

Module 2 - England and Wales

Unit 1 - England: London and the South

Unit 2 - England: The Midlands and the North

Unit 3 - Wales

Film The Simpsons: The Regina Monologues

Module 3 - Scotland and Ireland

Unit 1 - Scotland

Unit 2 - Ireland: the country

Unit 3 - Ireland: the soul

Film Braveheart

Module 4 - The U.S.A.

Unit 1 - The East

Unit 2 - The Central and the Southern States

Unit 3 - The West

Unit 4 - Alaska and Hawaii

Film The Truman Show

Module 5 - Other parts of the Americas

Unit 1 - Canada

Unit 2 - The Caribbean Basin

Film The Last of the Mohicans

Module 6 - Africa and Asia

Unit 1 - Africa and its people

Unit 2 - Africa: countries in the south

Unit 3 - Continental Asia: India, Pakistan, Bangladesh

Unit 4 - Pacific Asia: Singapore, Hong Kong, Philippines

Film Bride and Prejudice

Module 7 - Oceania

Unit 1 - Australia

Unit 2 - New Zealand

Film Mr. Crocodile Dundee

Module 8 - Hot issues

Unit 1 - A dying planet

Unit 2 - Food, water and aid

Unit 3 - Futuristic Science and Technology

Film Jurassic Park

Module 9 - Society and the individual

Unit 1 - The UK and its institutions

Unit 2 - The USA and its institutions

Unit 3 - The European Union

Film Love Actually

Module 10 - Young peolple

Unit 1 - Education and learning

Unit 2 - Feelings and questions

Unit 3 - Sport and free time

Film Billy Elliot

Module 11 - Moments in history, literature and art

Unit 1 - From the beginning to Henry VIII

Unit 2 - From the Golden Age to Victorianism

Unit 3 - The XX Century and beyond

Film The Merchant of Venice

Module 12 - The unknow

Unit 1 - Target: Earth

Unit 2 - The Gothic Tradition

Unit 3 - A Satire on the Gothic Tale

Film Sleepy Hollow

Glossary

tu tu tu The 20 Century and beyond The 20 Century and beyond The 20 168   MOMENTS IN HISTORY, LITERATURE AND ART è George Orwell - 1984 Today everybody knows what Big Brother is, a popular reality television programme, a kind of  real life soap , where a number of contestants   always watched by a camera   try to avoid periodic publicly-voted evictions and win a prize. What most people probably do not know is that this term comes from a famous novel written by George Orwell in 1947. George Orwell, pen name of Eric Arthur Blair, was born in 1903. He produced an impressive and critically acclaimed body of work, including his two most famous novels, Animal Farm and 1984. He died in 1950. 1984 is Orwell s last, pessimistic novel, a long analysis of a Police State in action. The scene is a future England under a totalitarian régime which tries to control everything, even thoughts and emotions. The plot is based on the development of Winston s unorthodox thoughts and his love to Julia. For a short time they create a small world of feeling for themselves. They are betrayed, however, and in the end Winston is punished and comes to love Big Brother. Big Brother is not a real person. He is mysterious, powerful, forever watching, he is only seen on TV. He is a God-like figure who sees and knows everything, but never appears in person. His picture glares out from huge posters that shout: BIG BROTHER IS WATCHING YOU! According to Orwell, Big Brother stands for dictators everywhere. The black-moustachio d face gazed down from every commanding corner. There was one on the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the dark eyes looked deep into Winston s own. Down at street level another poster, torn at one corner, flapped fitfully in the wind, alternately covering and uncovering the single word INGSOC. [...] Behind Winston s back the voice from the telescreen was still babbling away about pigiron and the overfulfilment of the Ninth ThreeYear Plan. The telescreen received and transmitted simultaneously. Any sound that Winston made, above the level of a very low whisper, would be picked up by it, moreover, so long as he remained within the field of vision which the metal plaque commanded, he could be seen as well as heard. There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody   module 11 all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live   did live, from habit that became instinct   in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinised.   George Orwell.   Barack Obama s New World Order By Michael Scherer The United States is still the same country it was a year ago, but its international branding campaign, as led by the new President, Barack Obama, is so different that the rest of the world might be forgiven if it has to do a double take. Most of the hallmarks of the foreign policy of George W. Bush are gone. The old conservative idea of  American exceptionalism,  which placed the U.S. on a plane above the rest of the world as a unique beacon of democracy and financial might, has been rejected. At almost every stop, Obama has made clear that the U.S. is but one actor in a global community. Talk of American economic supremacy has been replaced by a call from Obama for more growth in developing countries. Claims of American military supremacy have been 6 replaced with heavy emphasis on cooperation and diplomatic hard labor. The tone was set from Obama s first public remarks in London, at a press conference with Prime Minister Gordon Brown, where the American President said he had come  to listen, not to lecture . At a joint appearance with German Chancellor Angela Merkel in Baden-Baden some days later, a German reporter asked Obama about his  grand designs  for NATO.  I don t come bearing grand designs , Obama said, scrapping the leadership role the U.S. maintained through the Cold War.  I m here to listen, to share ideas and to jointly, as one of many NATO allies, help shape our vision for the future.  The contrast is striking. Only four years ago, George W. Bush, in his second Inaugural Address, described what he called America s  considerable  influence, saying,  We will use it confidently in freedom s cause . Bush s vision of American power was combative and aggressive. Obama, by contrast, is looking for collaboration. He is looking to build a collective vision, not to impose an American one. from TIME, Apr. 03, 2009 Answer these questions about Text 4. a. Which words are related to the act of controlling or being controlled? b. Which dictator/s of the past does the Big Brother remind you of? c. 1984 was written before TV was born. What word corresponds to television in the passage? 7 Discuss in groups the article of Text 5. a. What is the difference between last year s US and the country of today? b. What has replaced American economic supremacy in Obama s words? c. What did Obama say at the press conference with the British Prime Minister? d. What was Bush s vision of American power? e. What is the final message of the article? 

Cinema Cinema Cinema Cinema Cinema Cinema Cinema Cinema Cine THE MERCHANT OF VENICE Film THE MERCHANT OF VENICE   169 BEFORE VIEWING file 11 a. Do you know any plays by Shakespeare? b. Have you ever seen a film based on one of his plays? c. If so, was the setting modern or ancient? d. Why, in your opinion? A synopsis Production: USA, Italy, Luxembourg, UK, - 2004 Director: Michael Radford Starring: Al Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins William Shakespeare had the ability to speak about problems and conflicts which are still extremely up-to-date. For this reason many of his plays have become film scripts and have been filmed. The Merchant of Venice (1596-97) is one of his most famous comedies and its characters have an extremely dramatic strength. The generous Christian nobleman, Antonio, and the greedy Jewish usurer, Shylock express one of the oldest conflicts of society, the racial and religious one. Shylock is painted as the villain, but because of his complexity, he is both a sympathetic and a loathsome character. The main message emerging from the play and from the film, in particular, is that racial prejudice has made Shylock what he is, that is a man who has suffered and cannot be totally condemned. The plot is organized on two levels. The main plot is based on a conflict of money problems between Shylock (the usurer, Al Pacino in the film) and Antonio (the merchant of Venice, Jeremy Irons), who wants to help his friend Bassanio (Joseph Fiennes) go to Belmont and see the beautiful Portia. Bassanio needs money to do so, therefore Antonio asks Shylock for a loan and signs a bond by which the Jew will take a pound of his flesh if he cannot repay the debt. The subplot takes place in Belmont, where Portia, a rich heiress, has to choose her future husband among a series of suitors; according to her father s will, only the man who will pass the casket test will be allowed to marry her. Bassanio gives proof of his love choosing a simple casket (the one with Portia s portrait) and disregarding the gold and the silver ones. Meanwhile, in Venice, Antonio goes broke because of a shipwreck, so he cannot repay the loan. Shylock, who is full of resentment towards the merchant (in the past he had been ill-treated by him), cruelly demands the bond to be respected and for this reason he applies to the Court. During the trial Portia disguises herself as a lawyer and, thanks to her rethorical ability, she rescues Antonio from Shylock s revenge. CURIOSITY CORNER WOMEN ON THE STAGE Male actors, or at least boy actors, had played women s roles since the early 16th century. After the Restoration in 1660, Charles II brought an innovative addition to the English theatre: women were allowed to take the stage as actresses. The novelty created something of a stir, but for the most part the reaction of the public was positive. Despite their popularity, women did not enjoy the same status as men in the theatre, as their pay did not equal that of their male colleagues. However this was a first step. 

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