Смежные дисциплины по учебному плану:
|
|
БАЗОВЫЙ МОДУЛЬ
(проверка сформированности компетенций)
|
Тема или задание текущей аттестационной работы
|
Виды текущей аттестации
|
Аудиторная или внеаудиторная
|
Максимальное количество баллов
|
Pre-view discussion. «The burden of genius...”
|
Устный опрос
|
Аудиторная, внеаудиторная
|
10
|
A beautiful mind. Part 1
|
Устный опрос
|
Аудиторная, внеаудиторная
|
15
|
A beautiful mind. Part 2
|
Устный опрос
|
Аудиторная, внеаудиторная
|
15
|
A beautiful mind. Part 3
|
Устный опрос
|
Аудиторная, внеаудиторная
|
15
|
A beautiful mind. Part 4
|
Устный опрос
|
Аудиторная. внеаудиторная
|
15
|
Final discussion
|
Устный опрос, написание рецензии
|
Аудиторная. внеаудиторная
|
15
|
Presentations
|
Дискуссия
|
Аудиторная
|
10
|
Итого:
|
95
|
ДОПОЛНИТЕЛЬНЫЙ МОДУЛЬ
|
Тема или задание текущей аттестационной работы
|
Виды текущей аттестации
|
Аудиторная или внеаудиторная
|
Максимальное количество баллов
|
Подготовка материалов для портфолио (по пройденным темам)
|
письменная
|
внеаудиторная
|
5
|
или
|
|
Составление лексических упражнений по пройденным темам
|
письменная
|
внеаудиторная
|
5
|
Итого:
|
5
|
Примечания: работа, выполненная менее чем на 30 %, считается неудовлетворительной и оценивается в 0 баллов.
Дополнительные требования для студентов, отсутствующих на семинарах:
письменная отчетность по пропущенным занятиям, выполнение заданий из дополнительного модуля
Форма прохождения промежуточной аттестации: промежуточная аттестация проводится в установленном порядке (итоговая презентация, зачет) Зачетный балл -31 .
ФИО преподавателя: Алпатов Владислав Викторович
Утверждено на заседании кафедры _____________________ «___» _________ 201__ г.
Протокол №__.
Зав. кафедрой __________________ (Языкова Н.В.)
Schools Kill Creativity
Pre-viewing tasks
What do you know about Ken Robinson?
Study his biography:
Why don't we get the best out of people? Sir Ken Robinson argues that it's because we've been educated to become good workers, rather than creative thinkers. Students with restless minds and bodies -- far from being cultivated for their energy and curiosity -- are ignored or even stigmatized, with terrible consequences. "We are educating people out of their creativity," Robinson says. It's a message with deep resonance. Robinson's TEDTalk has been distributed widely around the Web since its release in June 2006. The most popular words framing blog posts on his talk? "Everyone should watch this."
A visionary cultural leader, Sir Ken led the British government's 1998 advisory committee on creative and cultural education, a massive inquiry into the significance of creativity in the educational system and the economy, and was knighted in 2003 for his achievements. His latest book, The Element: How Finding Your Passion Changes Everything, a deep look at human creativity and education, was published in January 2009.
"Ken's vision and expertise is sought by public and commercial organizations throughout the world."
BBC Radio 4
Discussing quotations by Ken Robinson:
If you’re not prepared to be wrong, you’ll never come up with anything original.”
“All kids have tremendous talents — and we squander them pretty ruthlessly.”
“Every education system on Earth has the same hierarchy of subjects: at the top are mathematics and languages, then the humanities, and the bottom are the arts.”
“There isn’t an education system on the planet that teaches dance everyday to children the way we teach them mathematics. Why?”
“Very many people go through their whole lives having no real sense of what their talents may be, or if they have any to speak of.”
“Human resources are like natural resources; they’re often buried deep. You have to go looking for them, they’re not just lying around on the surface.”
“All children are born artists” Who said this? What do you know about this person?
What can you say about the education systems in Russia, America, Great Britain and other countries? What are the differences? In what way are they pretty much similar to each other?
The Title
What are the implications of the title?
Do you agree with this point of view? Why?
Listening comprehension
6. Fill in the gaps:
I have an ___________education -- __________, what I find is everybody has an _________education. Don't you? I ________very interesting. If you're at a dinner party, and you say you work in education -- ________ you're not often at dinner parties, ________, if you work in education. (Laughter) You're not asked. And you're never asked back, ________. That's strange to me. But if you are, and you say to somebody, you know, they say, "What do you do?" and you say you work in education, you can see the blood run from their face. ________ "Oh my God," you know, "Why me? My one night out all week." (Laughter) But if you ask about their education, they________________. Because it's one of those things that goes deep with people, am I right? Like _________, and money and other things. I have a big interest in _________, and I think we all do. We have a ______________ interest in it, partly because it's education that's _________ take us into this future that we __________. If you think of it, children starting school this year will be __________ in 2065. Nobody _______ -- despite all the expertise that's been on parade for the past four days -- what the world will look like _________. And yet we're meant to be educating them for it. So the ______________, I think, is___________.
And the third part of this is that we've all agreed,___________, on the really extraordinary ___________ that children have -- their capacities for_____________. I mean, Sirena last night was a marvel, wasn't she? Just seeing what she could do. And she's ___________, but I think she's not, so to speak, exceptional in the whole of childhood. What you have there is a person of extraordinary __________ who found a talent. And my __________ is, all kids have_______________. And we _________ them, pretty ___________. So I want to talk about education and I want to talk about ________. My contention is that creativity now is as important in education as __________, and we should treat it with the same status. (Applause) Thank you. That was it, by the way. Thank you very much. (Laughter) So, 15 minutes left. Well, I was born ... no. (Laughter)
I heard a great story recently -- I love telling it -- ________________. She was six and she was at the back, drawing, and the teacher said this little girl hardly ever _____________, and in this drawing lesson she did. The teacher was _________ and she went over to her and she said, "What are you drawing?" And the girl said, "I'm drawing a picture of God." And the teacher said, "But nobody knows what God looks like." _____________________." (Laughter)
What these things have______________ is that kids will _____________. If they don't know, they'll _________. Am I right? They're not _______________being wrong. Now, I don't mean to say that being wrong is the same thing as being creative. What we do know is, ____________________, you'll never come up with anything original -- if you're not prepared to be wrong. And by the time they get to be adults, most kids have lost that _________. They have become frightened of being wrong. And we run our companies like this, by the way. We ___________mistakes. And we're now running _______________where mistakes are the worst thing you can make. And the result is that we are educating people out of their creative capacities. Picasso once said this -- he said that all children ____________. The problem is to _________ an artist as we grow up. I believe this ___________, that we don't grow into creativity, we grow out of it. Or rather, we _____________ if it. So why is this?
But something ________you when you move to America and when you travel around the world: Every education system_________ has the same __________ of subjects. Every one. Doesn't matter where you go. You'd think it would be otherwise, but it isn't. At the top are __________ and__________, then ____________, and the bottom are __________. Everywhere on Earth. And in pretty much every system too, there's a hierarchy within the arts. Art and music are normally given a ___________in schools than drama and dance. There isn't an education system on the planet that teaches dance everyday to children the way we teach them mathematics. Why? Why not? I think this is ____________-. I think math is very important, but so is dance. ___________, we all do. We all have bodies, don't we? Did I miss a meeting? (Laughter) ___________--, what happens is, as children grow up, we start to educate them __________-. And then we _________their heads. And slightly to one side.
Now our education system ____________ on the idea of academic ability. And there's a reason. The whole system ___________-- around the world, there were no public systems of education, really, before the 19th century. They all came into being to meet the ____________. So the ___________ is rooted on two ideas. Number one, that ____________ subjects for work are at the top. So you were probably_______________ away from things at school when you were a kid, things you liked, on the grounds that you would never get a job doing that. Is that right? Don't do music, you're not going to be __________; don't do art, you won't be __________. ______________ -- now, profoundly mistaken. The whole world is _________ in a revolution. And the second is _____________, which has really come to dominate our view of _____________-, because the universities designed the system in ___________. If you think of it, the whole system of _____________around the world is a _________process of university entrance. And the ____________ is that many highly talented, brilliant, creative people think they're not, because the thing they were good at at school wasn't _________, or was actually ____________. And I think we can't ___________ go on that way.
In the next 30 years, ___________________, more people worldwide will be graduating through education than since the beginning of history. More people, and it's the ___________ of all the things we've talked about -- ____________ and its transformation effect on work, and ____________ and the ____________ in population. Suddenly, degrees aren't ________anything. Isn't that true? When I was a student, if you had a degree, you had a job. If you didn't have a job it's because you didn't want one. And I didn't want one, frankly. (Laughter) But now kids with degrees are often heading home to carry on playing video games, because you need an _____where the previous job required a _____, and now you need a _____ for the other. It's a process of academic __________. And it indicates the whole structure of education is ___________ our feet. We need to _______________ our view of intelligence.
We know three things about_____________. One, it's _________. We think about the world in all the ways that we ___________ it. We think ____________, we think in ______, we think ____________. We think in abstract terms, we think in movement. Secondly, intelligence is dynamic. If you look at the ___________ of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive. The brain isn't ____________ compartments. In fact, creativity -- which I define as the process of having original ideas that have value -- more often than not comes about through _____________ of different ______________ ways of seeing things.
The brain is__________ -- by the way, there's a ___________ called the corpus ___________. It's thicker in women. Following off from Helen yesterday, I think this is probably why women are better at _____________. Because you are, aren't you? There's a _____________, but I know it from my personal life. If my wife is cooking a meal at home -- which is not often, thankfully. (Laughter) But you know, she's doing -- no, she's good ____some things -- but if she's cooking, you know, she's ___________ people on the phone, she's talking to the kids, she's painting the ___________, she's doing ____________ over here. If I'm cooking, the door is shut, the kids are out, the phone's on the _______, if she comes in I get __________. I say, "Terry, please, I'm trying to fry an egg in here. Give me a break." (Laughter) Actually, you know that old ______________ thing, if a tree falls in a forest and _________ it, did it happen? Remember that __________? I saw a great __________ really recently which said, "If a man speaks his mind in a forest, and no woman hears him, ___________?" (Laughter)
And the third thing about ______________ is, it's distinct. I'm doing a new book at the moment called "____________," which is based on a series of interviews with people about how they___________- their talent. I'm fascinated by how people got to be there. It's really _________ by a conversation I had with a wonderful woman who maybe most people have never heard of; she's called Gillian Lynne -- have you heard of her? Some have. She's a _____________- and everybody knows her work. She did "Cats" and "Phantom of the Opera." ___________ of the Royal Ballet in England, as you can see. Anyway, Gillian and I had lunch one day and I said, "Gillian, how'd you get to be a dancer?" And she said it was interesting; when she was at school, she was really____________. And the school, in the '30s, wrote to her parents and said, "We think Gillian has a learning disorder." She couldn't concentrate; she was _____________. I think now they'd say she had _______. Wouldn't you? But this was the 1930s, and ________ hadn't been invented at this point. It wasn't an available condition. (Laughter) People weren't_________ they could have that.
Anyway, she went to see this ______________. So, this ___________ room, and she was there with her mother, and she was led and sat on this chair at the end, and she sat on her hands for 20 minutes while this man talked to her mother about all the problems Gillian __________ at school. And at the end of it -- because she was ___________ people; her homework was always ________; and so on, little kid of eight -- in the end, the doctor went and sat next to Gillian and said, "Gillian, I've listened ___all these things that your mother's told me, and I need to speak to her ___________." He said, "Wait here. We'll be back; we won't be __________," and they went and left her. But as they went out the room, he turned ___ the radio that was sitting on his _____. And when they _______ the room, he said to her mother, "Just stand and watch her." And the minute they left the room, she said, she was on her feet, ____________ the music. And they watched for a few minutes and he turned to her mother and said, "Mrs. Lynne, Gillian isn't ____; she's a dancer. Take her to a ______________."
I said, "What happened?" She said, "She did. I can't tell you how ____________ it was. We walked in this room and it was full of people ____ me. People who couldn't sit still. People who had to move to think." Who had to move to think. They did ballet; they did tap; they did ____; they did modern; they did contemporary. She was _______________ for the Royal _______ School; she became a ___________; she had a wonderful career at the Royal _________. She eventually _______________ the Royal Ballet School and _____________ her own company -- the Gillian Lynne Dance Company -- met Andrew Lloyd Weber. She's been ______________ some of the most successful musical theater productions in history; she's given pleasure to millions; and she's a multi-millionaire. Somebody else might have put her _______________and told her to _______________.
What TED celebrates is the ______ of the ___________ imagination. We have to be careful now that we use this gift _________ and that we __________ some of the scenarios that we've talked about. And the only way we'll do it is by seeing our creative capacities for the _________they are and seeing our children for the_________ that they are. And our task is to educate their __________-, so they can _______ this future. By the way -- we may not see this future, but they will. And our job is to help them make something of it. Thank you very much.
Vocabulary
Give English equivalents and reproduce the context:
честно говоря
прижать к стене
законный интерес
схватить
уйти на пенсию
не иметь понятия
непредсказуемость
тем не менее
способность
отстаиваемая точка зрения
разбрасывать, безрассудно тратить
беспощадно
общее
попытаться
позорить, клеймить
иерархия
утверждать, заявлять, основывать
направлять в нужное русло, следовать
милостиво, мягко, благоприятно
поглощать, засасывать
продолжительный, длительный
взаимодействие
уйма, множество
банальность, история с «бородой»
«Прозрение», Богоявление
ёрзать, быть не в состоянии сосредоточить внимание
назначить лечение
предотвращать
Write an essay (250-300 words) “Do schools kill creativity?”
English: Language of opportunity
Speaking English in Canada
Before watching the video:
From your point of view, what is “intercultural understanding”? What difficulties can occur during intercultural communication? Is it possible to foresee some difficulties and prevent them?
Vince Kelly, an academic manager, says that “the idea that you can learn language and then put the culture on the top like jam, doesn’t really work”.
How can you comment on this? What’s the best way to learn the language, in your opinion?
If you’re at work and call somebody up in another department and they say: “Oh, hello! What are you going to waste my time with today?” How would you respond? Are they being friendly, or aggressive, or fed up with you?
Watch the video to find it out.
While watching the video:
Notice and put down the peculiarities of the pronunciation of the following speakers (where are they from?):
-
Tsegay Tesfay
|
Angelica Castaneda
|
Albert Tan
|
|
|
|
What sounds seem unnatural to you? What can be the reasons for their manner of speaking and grammatical mistakes?
Where is Eritrea situated? Find out on the internet some political and geographical facts about this country.
According to Judy Sillito, are culture and language embedded? Can you pull them apart?
How many hours of instruction in English can each new immigrant receive? Is it for free?
What is LINC?
How many levels does the LINC programme include? What do students study at these levels?
What is one of the most distinctive features of teaching at LINC?
Is the migrants’ first language accepted? Or is their mother tongue just dropped?
What is drawing people to Edmonton from other parts of Canada as well as abroad?
After watching the video:
Have you ever heard of any centers in Russia where the language instruction for newcomers can be provided?
Would you like to take part in such a programme and become a teacher of Russian as a second language? Why?
Body Language
Listening comprehension
Fill in the gaps:
So I want to start by _________ you a free no-tech life hack, and all it requires of you is this: that you change your __________ for two minutes. But before I _________, I want to ask you to right now ____________ of your body and what you're doing with your body. So how many of you are sort of making yourselves _________? Maybe you're ____________, crossing your legs, maybe ___________________. Sometimes we hold onto our arms like this. Sometimes we ____________. (Laughter) I see you. (Laughter) So I want you to _______________what you're doing right now. We're going to come back to that _________________, and I'm hoping that if you learn to________ this a little bit, it could____________ change the way your life unfolds.
So, we're really _____________ with body language, and we're ______________ interested in other people's body language. You know, we're interested in, like, you know — (Laughter) — _________________, or a smile, or a _______________, or maybe a very ______________, or maybe even something like a______________.
Amy Cuddy: So a handshake, or ______________, can have us talking for weeks and weeks and weeks. Even the ____ and The _________________. So ________ when we think about ________________, or body language -- but we call it nonverbals as _______________________ -- it's language, so we think about communication. When we think about communication, we think about___________. So what is your body language ______________ to me? What's _______communicating to you?
And there's a lot of reason to believe that this is a _______________ to look at this. So _______________ have spent a lot of time looking at the __________ of our body language, or other people's body language, on ____________. And we make __________________________ and inferences from body language. And those judgments can _______ really meaningful life outcomes like who we hire or promote, who we ____________ on a date. For example, Nalini Ambady, a researcher at Tufts University, shows that when people watch 30-second soundless clips of real _______________patient ____________ their judgments of the physician's niceness _________ whether or not that physician will _________. So it doesn't have to do so much with whether or not that physician was _____________, but do we like that person and how they interacted? Even ______________ Alex Todorov at Princeton has shown us that judgments of __________________________ in just one second predict 70 percent of U.S. _________ and gubernatorial_______ outcomes, and even, let's go digital, ___________ used well in online_____________ can lead to you claim more value from that negotiation. If you use them poorly, bad idea. Right? So when we think of __________, we think of how we ___________ others, how they _______us and what the ___________ are. We ________________, though, the other ___________ that's __________________ our nonverbals, and that's _________________.
We are also ______________ our nonverbals, our ___________ and our _________ and our ___________. So what nonverbals am I talking about? I'm a social psychologist. I ______________, and I teach at a competitive business school, so it was _____________ that I would become interested in ______________. I became especially interested in _________________________ of power and dominance.
So my main ________________ Dana Carney, who's at Berkeley, and I really wanted to know, can you ___________________? Like, can you do this just for a little while and actually ______________ a behavioral outcome that makes you seem _________________? So we know that our nonverbals ___________ how other people think and feel about us. There's________________. But our question really was, do our nonverbals __________ how we think and feel about ourselves?
So the second question really was, you know, so we know that _________________________, but is it also true that __________________? And when I say __________ in the case of the powerful, what am I talking about? So I'm talking about ___________________ and the sort of ______________ things that make up our thoughts and feelings, and in my case, that's ________________. I look at hormones. So what do the minds of the powerful _________ the powerless look like? So powerful people tend to be,_______________, more ___________and more _____________ more ____________. They actually feel that they're going to win even at ________________. They also tend to be able to ______________________. So there are a lot of differences. They _______________. There are a lot of differences between_______________and ____________ people. _________________, there also are differences on two ____hormones: testosterone, which is the _______________, and cortisol, which is the ___________________. So what we find is that _______________ have high _______________ and low _______________, and powerful and effective leaders also have _______________ and ______________. So what does that mean? When you think about power, people __________________ only about testosterone, because that was about dominance. But really, power is also about how you ______________. So do you want the high-power leader that's ____________ high on testosterone, but really stress __________? Probably not, right? You want the person who's powerful and ___________ and _____________, but not very stress reactive, the person who's laid back.
So this is what we find. Risk tolerance, which is ________________, what we find is that when you're in the high-power ____________, 86 percent of you will ________. When you're in the low-power _____________, only 60 percent, and that's a _________________________________. Here's what we find ________________. From their baseline when they come in, high-power people _____________ about a 20-percent _________, and low-power people experience about a 10-percent ___________. So again, _____________, and you get these changes. Here's what you _______________. High-power people experience about a __________________, and the low-power people __________________________________. So two minutes lead to these _______________________ that configure your brain to basically be either ___________, confident and _________________, or really stress-reactive, and, you know, feeling sort of _______________. And we've all had the feeling, right? So it seems that our ____________________________ how we think and feel about ourselves, so it's not just others, but it's also ourselves. Also, our __________________________.
So we bring people ____________, and they do either high- or low-power poses again, they _______________a very ___________ job interview. It's five minutes long. They are being ________________. They're being _________ also, and the judges are trained to give no _____________________, so they look like this. Like, imagine this is the person interviewing you. So for five minutes, nothing, and this is worse than being _________. People hate this. It's what Marianne LaFrance calls "standing in social _____________." So this really spikes your cortisol. So this is the job interview _________________________, because we really wanted to see ______________. We then have these coders look at these tapes, four of them. They're _________________. They're _________________. They have no idea who's been posing in _______________, and they end up looking at these sets of tapes, and they say, "Oh, we want ____________- these people," -- all the high-power posers -- "we don't want to hire these people. We also ___________ these people much _______________ overall." But what's driving it? It's not about the ________________. It's about the presence that they're _____________________. We also, because we _______ them on all these variables related to ____________, like, how _______________ is the speech? How good is it? What are their _______________? No effect on those things. This is what's affected. These kinds of things. People are bringing their ____________, basically. They're bringing_______________. They _______________, but as themselves, with no, you know, residue over them. So this is what's _________________, or _____________ the effect.
So when I tell people about this, that our ______________________ and our ____________change ____________, and our_____________ can change ______________ they say to me, "I don't -- It feels __________." Right? So I said, ____________________. I don't -- It's not me. I don't want to get there and then still feel like_________. I don't want to feel like _________________. I don't want to get there only to feel like _______________________. And that really _______________ with me, because I want to tell you a little story about being _______________ and feeling like I'm ________________________.
Vocabulary
5. Give English equivalents and reproduce the context:
выдать секрет
горбиться, сутулиться
корректировать, вносить незначительные изменения
неловкая ситуация
презрительный взгляд
наличие/отсутствие рукопожатия
эффективный способ
стремительный вывод
подавать в суд на кого-либо
символ эмоций
предубеждение
неизбежный
сотрудник
напористый, решительный
азартные игры
колоссальная, значительная разница
прерывать замечаниями, вопросами
зыбучие пески
быть не в курсе условий
обманщик, мошенник
находить отклик
The Butterfly Circus
Complete the script of the film.
(00:30)Эй, смотри! Мы поедем туда?
Сэмми, ты разбиваешь мне сердце. Мы - единственный цирк, который тебе нужен, сынок.
Но там есть карусели. Заедем, мистер Мендез?
Почему бы и нет?
Вперед!
Ок, парни, пора увидеть бородатую леди. Кто со мной?
Мы – великие гадалки. Присаживайтесь.Я расскажу всё о вашей судьбе. Великие гадалки.
Я тебя догоню и схвачу! Я поймаю тебя, если смогу.
Подходите, дамы и господа. У нас лучшее шоу уродов в городе.
Всё внутри, заходите и смотрите. Лучшее шоу в городе.
Вот женщина с умопомрачительным весом. У неё зверский аппетит, поедает кур целиком. Теперь посмотрите сюда… Это – человек-картина! Его путешествия по миру отражены в каждом дюйме его тела. От головы и до самых пят.
А сейчас, дамы и господа, соберитесь с духом. Настоящее извращение природы! Человек, если можно его так назвать. К которому даже Бог повернулся спиной. Я представляю вам неполноценное создание.
(6:15) Можешь принести мой чемодан? А то он такой тяжелый..
Тебе легче, ты ведь такой сильный..ааа! в машине мертвец!
Что?!
Ну и ну..вы только посмотрите. Это же прекрасно! Пойдем к огню, тебе нужно согреться, малыш.
(7:00) Я Сэмми, а как тебя зовут?
Я Уилл.
А где твои руки и ноги?
Сэмми!
Что, мама?
Он теперь тоже будет в нашем цирке?
Эмм..возможно, я буду.
Минуточку..у нас ведь нет шоу уродов.
Что ты имеешь в виду? Они есть в каждом цирке. Люди везде приходят смотреть на нас.
И почему они приходят, Уилл?
Но вы разве не делаете этого?
Нет. Нет ничего хорошего в демонстрации физических уродств. Посмотри, Уилл, мы тут все счастливы! И ты можешь оставаться с нами, если захочешь. Я действительно делаю совсем другое шоу.
(9:25) Смотрите нас на ярмарочной площади, только два дня! Приходите, цирк бабочек, только 2 дня!
Здравствуйте, мой сын хотел поприветствовать самого сильного человека.
Хорошо, можешь подойти и удостовериться в силе моих мускулов.
Вау. Вы тоже участвуете в шоу, мистер?
Нет, не совсем…
Пожалуй, мы пойдем, благодарю.
Вау, ты это видел, пап? Однажды я тоже стану самым сильным в мире! Таким как он. Стоит только захотеть.
Да, сынок, если захотеть, можно стать кем угодно.
(11:35) Великолепно, не так ли? Их движения полны невероятной энергии… такие цветущие и грациозные..Они поразительны. Ну а ты? Проклятый с рождения. Человек, если его можно так назвать. К которому даже Бог повернулся спиной!
Прекрати! Почему ты мне это говоришь?
Потому что ты сам уже поверил в это. Но если ты сумеешь разглядеть проблески истинной красоты..
Но они другие.
Да, а значит у тебя есть преимущество. Ведь чем сложнее борьба, тем значительнее победа!
(13:50) Я не могу найти свою гусеницу, где она?
Она превратилась в кокон, видишь? Это хорошо, она скоро станет такой прекрасной, что ты её не узнаешь.
(14:40) Помогите мне! Эй, ты проходишь мимо? Да что с тобой? Ты бросишь меня здесь?
Я думаю, ты и сам справишься.
Что?! Ты думаешь, я каким-то волшебным образом просто поднимусь?
(17:25) Вы не поверите своим глазам, увидев человека с такой отважной душой. Он бросает вызов самой смерти, забираясь на 50 футов вверх, а потом прыгает в воду.
(18:30) Давай послушаем, что там говорят.
Спасибо.
Вау, как Вы это делаете, мистер? Неужели Вы не боялись? Ведь там было так высоко!
Я бы тоже так хотел.
Дорогой, ты тоже всё сможешь.
|
|
Answer these questions:
What are the implications of the title?
What symbols in the film can you find?
Is the name of the main character speaking?
What is your attitude towards the circus?
In your opinion, what is “will”?
Write an essay (300-350 words) on one of the following topics.
The greater the struggle, the more glorious the triumph.
You can manage to do whatever you want if you have will.
If you are different, you do have an advantage.
The beauty can come from ashes.
Patch Adams
|
