Page 1

flap 100 mm

13 mm

bogblok 195 mm x 250 mm

J. Bækgaard, K. Lund Andersen, S. Straagaard Pedersen & E. Pors

Stinna Straagaard Pedersen Lektor i engelsk og dansk på Midtfyns Gymnasium. Hun har tidligere undervist i folkeskolens udskoling og har også linjefag i dansk fra Odense Seminarium. Hun er netop vendt tilbage til Danmark efter at have været udstationeret i Seattle med sin familie i to år.

Eva Pors Lektor i engelsk og dansk på Midtfyns Gymnasium. Hun har tidligere udgivet lærebogen Cross Country Canada (2013) og bogen (Mere end) 111 variationer til undervisningen (2016), en bog til læreren med undervisningsideer, som er affødt af hendes blog med undervisningsideer www.111variation.dk.

Lektor i engelsk og dansk på Midtfyns Gymnasium. Han er også forfatter til engelskudgivelsen West Indies: The Rhythm & Struggle of Life (2017).

Open Wide, 2. udg. er en grundbog og en indføring til engelskfaget i gymnasieskolen. I fire kapitler med fire alsidige og tidssvarende emner kommer bogen omkring fagets grundlæggende faglige kompetencer. • Open Up – working with genre: I dette kapitel introduceres eleverne til de grundlæggende genrekarakteristika, som de skal arbejde med i deres gymnasietid. Derudover har kapitlet til formål at sætte fokus på elevernes mundtlige sprogproduktion, så det at tale engelsk bliver en rutine og en selvfølgelighed. • Twisted Minds - approaching written texts: Her arbejder eleverne målrettet med at tilegne sig kompetencer i tekstanalyse, hvilket sker gennem behandlingen af tekster, der på forskellig vis afspejler de dunkle sider af det menneskelige sind. • G’online – comprehending the World Wide Web: Kapitlet fokuserer på at lære eleverne at navigere i internettets oceaner af informationer. Kapitlet lægger op til en diskussion af hensigtsmæssig informationssøgning og kildekritik, men eleverne stifter også bekendtskab med nogle af de genrer inden for litteraturen, der netop bliver til på nettet.

OPEN WIDE EN GRUNDBOG 2. UDG.

Jakob Bækgaard

• Beat It – the lyrical expression of American hip hop: I det sidste kapitel oparbejder eleverne et fagligt begrebsapparat til at analysere lyrik på utraditionel vis. Dette sker gennem amerikansk hip hop, hvis udvikling også sættes i historisk perspektiv. Bogen rammer bredt ned i de gymnasiale uddannelser (STX, HHX, HTX og HF), men kan også anvendes i udskolingen, og emnerne og teksterne appellerer til mange forskellige elevtyper. Endelig er bogens mange arbejdsopgaver til teksterne kendetegnet ved stor variation og høj elevaktivitet, hvilket gør det let at anvende bogen i undervisningen. Foruden det fyldestgørende arbejdsmateriale i selve Open Wide, er der også tilknyttet et gratis website til bogen, som bl.a. rummer videoklip samt printklare arbejdsark.

Kristine Lund Andersen Lektor i dansk og engelsk på Midtfyns Gymnasium, hvor hun også er pædagogisk faglig koordinator. Hun har en baggrund fra HHX og har desuden undervist i folkeskolens udskoling.

bogblok 195 mm x 250 mm

flap 100 mm

Jakob Bækgaard Kristine Lund Andersen Stinna Straagaard Pedersen Eva Pors

Andre udgivelser fra Lindhardt og Ringhof Uddannelse WEST INDIES Af: Jakob Bækgaard

THE BEAT GENERATION Af: Matias Andre Fredriksen & Peter Brian Hogg

CASE REOPENED Af: Tine Rønlev Eriksen

CROSS COUNTRY CANADA Af: Mette Brynaa Hansen & Anne Louise Haugaard Christensen

EN GRUNDBOG

2. udg. (MERE END) 111 VARIATIONER TIL UNDERVISNINGEN Af: Eva Pors

ISBN 9788770668316

www.lru.dk

FINAL_2017_OPEN_WIDE_OMSLAG.indd 1

www.lru.dk

Lindhardt og Ringhof

www.lru.dk

30/06/17 12.25


OPEN WIDE

Jakob Bækgaard, Kristine Lund Andersen Stinna Straagaard Pedersen & Eva Pors ©2017 Lindhardt & Ringhof Uddannelse, København – et forlag under Lindhardt og Ringhof Forlag A/S, et selskab i Egmont. Forlagsredaktion: Jan Krogh Larsen Grafisk tilrettelægning og omslag: Ulla Korgaard, Designeriet Billedredaktør: Ulla Barfod Mekanisk, fotografisk, elektronisk eller anden gengivelse af denne bog eller dele heraf er kun tilladt efter Copydans regler. Forlaget har forsøgt at finde og kontakte alle rettighedshavere. Tryk: Livonia Print 2. udgave 1. oplag 2017 ISBN 978 87 70 668 316 Med denne 2. udgave har Open Wide bl.a. fået: - et helt nyt layout, som gør det lettere at navigere i indholdet - enkelte nye tekster - flere nye opgaver - flere nye icebreakers. Læs mere om Open Wide 2. udg. i forordet på side 5.


CHAPTER 1 - OPEN UP

CONTENT Forord

OPEN UP – WORKING WITH GENRE Is Public Speaking Really That Scary? ✪✪ (3,2 ns)

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7 8

The Death of the Short Story ✪✪ (1,1 ns)

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The Use of Force ✪✪ (3,3 ns)

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Three Soldiers ✪ (0,5 ns)

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Poem in Which ✪✪ (0,3 ns)

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Hansel and Gretel ✪ (2,8 ns)

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Inaugural Address by President Barack Obama ✪✪✪ (5,0 ns)

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Inaugural Address by President Donald Trump ✪✪ (3,8 ns)

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SYNTHESIS

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TWISTED MINDS – APPROACHING WRITTEN TEXTS

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Blood ✪✪ (2,9 ns)

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How to Set a House on Fire ✪✪ (0,6 ns)

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Graveyard Shift ✪ (2,4 ns)

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Gravel ✪✪✪ (5,7 ns)

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How My Brother Tried to Kill Me in 'Honor Attack' ✪ (2,4 ns)

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Gunman Kills 12 in Colorado, Reviving Gun Debate ✪✪✪ (2,5 ns)

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Human Behaviour: Is it all in the brain– or the mind ✪✪✪ (3,2 ns)

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SYNTHESIS

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G'ONLINE – COMPREHENDING THE WORLD WIDE WEB

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TIME Magazine: Person of the Year, 2006 ✪✪ (1,9 ns)

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Front Stage & Back Stage ✪✪ (1,3 ns)

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The Science Behind Why We Take Selfies ✪ (0,9 ns)

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Going Viral

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Online News

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Fake news

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The Language of the Web

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Adventures in Twitter Fiction

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Evidence ✪ (5,2 ns)

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That Final Paper You Want From Me ✪✪ (5,5 ns)

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SYNTHESIS

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OPEN WIDE

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BEAT IT – THE LYRICAL EXPRESSION OF AMERICAN HIP HOP A Short History of Hip Hop ✪ (6,1 ns)

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Old School Hip Hop: Grandmaster Flash & the Furious Five: The Message ✪✪ (2,9 ns)

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The Golden Age of Hip Hop: Run DMC: Proud to Be Black ✪ (1,7 ns)

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ICE-T: Colors ✪✪ (0,8 ns)

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Mainstream Hip Hop: 2Pac: Brenda's Got a Baby ✪ (0,9 ns)

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The Notorious B.I.G.: Ten Crack Commandments ✪✪✪ (1,3 ns)

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New Millennium Rap: Eminem: Stan ✪ (2,9 ns)

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Kanye West: Black Skinhead ✪✪✪ (0,9 ns)

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The Female Perspective: Eve: Love is Blind ✪ (1,1 ns)

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Nicki Minaj: Lookin Ass Nigga ✪✪✪ (0,8 ns)

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The Rap Debate: Mike Heenan: Dear Rap Music ✪✪ (2,0 ns)

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SYNTHESIS

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References

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✪ markerer de forskellige teksters sværhedsgrad, hvor ✪ er de lettest tilgængelige tekster og ✪✪✪ er sværest.

OPE N WI D E


FORORD Open Wide er et undervisningsmateriale for de elever, som gerne vil møde en varieret og kreativ undervisning funderet i solid faglighed. Bogen kommer med sine fire kapitler omkring de kernefaglige kompetencer, der er beskrevet i gymnasiereformen 2017, og som skal oparbejdes hos elever med engelsk på såvel A- som B-niveau i de gymnasiale uddannelser. Open Wide træner både grundlæggende mundtlighed og tekstnær analyse og fortolkning af en bred vifte af genrer: fiktion, sagprosa, de helt nye online genrer, som de sociale medier har bragt ind i vores hverdag, og lyrik i form af amerikansk hiphop, der giver eleverne en anderledes vej ind i en verden af rim, rytme og billedsprog. Det er således en bog, der stiler mod at give eleverne basiskompetencer og faglig tyngde og teori, så de har et godt udgangspunkt til at få gang i engelskfaget. Bogens to første kapitler er hermed et kvalificeret bud på et varieret og fagligt solidt grundforløb i engelsk i 1g. Bogen henvender sig primært til de første år på ungdomsuddannelserne og er tilpasset gymnasiereformen med øvelser og tekster, der blandt andet giver eleverne mulighed for at arbejde med tekster på engelsk fra andre fagområder, grammatik i forbindelse med tekstlæsning, digitale kompetencer ligesom den indeholder øvelser, hvor eleverne skal reflektere over deres uddannelsesvalg. Open Wide vil dog også kunne anvendes i udskolingen, da der til enhver anvendt tekst i bogen er mange udførligt beskrevne arbejdsopgaver, som varierer både i sværhedsgrad og indhold. De anvendte tekster i bogen er overvejende af nyere dato og omfangsmæssigt begrænsede, så det ikke er nødvendigt at dele teksterne op under læsningerne. De fyldestgørende arbejdsopgaver til tekstmaterialet spænder vidt fra icebreakerøvelser, hvor eleverne får tungen på gled, til grundige og forskelligartede tekstlæsningsøvelser, der stilladserer elevernes tekstlæsning, til kreative skriveøvelser. Flere af opgaverne er suppleret med printklare arbejdsark, og til bogen hører også modulplaner til hvert kapitel, så man som lærer kan finde grydeklare forløb eller bare inspiration til, hvordan enkelte forløb inden for hvert af kapitlerne kan skrues sammen. Disse arbejdsark og modulplaner kan findes på bogens tilknyttede website www.lru.dk/openwide. Forfatterne Ringe, 2017 OPEN WIDE

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OPEN UP

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WORKING WITH GENRE

FOCUS OF THE CHAPTER Do you dare to speak? Speaking in public can be terrifying to some people who might lie sleepless at night before giving a presentation or a speech. Maybe you know the feeling of insecurity that sneaks up on you before you are picked to say 5

something in class? You might be one of the students who absolutely hate presentations because all of your classmates' eyes are resting on you? Or maybe you are one of the lucky ones who love to speak up and participate in class debates? Regardless of your personality, the aim of this chapter is to get you speaking.

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Through various exercises, texts and speeches you will learn to speak out in class. This chapter will concentrate on some of the different genres you meet in your English lessons, thus providing you with a wide range of vocabulary from the terminology used in the academic world of literature.

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The chapter also contains small exercises entitled "icebreakers" that can be used at any time throughout a lesson since they are not linked to the texts.

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Is Public Speaking Really That Scary?

CHAPTER 1 - OPEN UP

PRE-READING In Groups of Four 1 Take a piece of paper and draw a circle in the middle with space for at least five sentences. Divide the rest of the paper into four equally large parts – one for each member of the group. Your piece of paper should look like this: At the same time, everyone now writes in his or her own triangle why s/he has problems speaking out in public.

If you do not have any issues with this yourself, your task is to write why you think other people sometimes struggle to say something out loud. You have one minute to come up with as many reasons as possible. When the first minute is up, take turns reading your sentences out loud, one sentence at a time. When everyone has finished reading their sentences, you have to agree on your top five reasons as to why people struggle to speak out in public. Write these five reasons in the circle.

2 Choose a speaker within your group who is willing to present your top five reasons in class. Individually 3 You will now be speedwriting. In speed-writing, you write nonstop for two minutes. No matter what, you cannot stop writing. If you are completely at a loss and do not know what to write, you simply write "I have no idea what to write…". Your teacher will tell you when to start writing, and the topic is "situations in which you struggled to speak". These situations can vary from the time you did not stand up to your parents to exam jitters. 4 When finished, your teacher will ask you to read your speedwriting aloud, one at a time. Alternatively, you can read your speed-writing aloud to the person sitting next to you and discuss it with him or her. In Pairs 5 Watch Monty Python's "Argument Clinic" sketch on www.youtube.com. Find the direct link at www.lru.dk/openwide. ✱ Discuss the quote: "An argument is a connected series of statements intended to establish a definite proposition. [...] an argument is an intellectual process [...] contradiction is just the automatic gainsaying of anything the other person says." ✱

Who do you think is right? In your opinion, can contradictions function as arguments?

In Pairs 6 Make three arguments of your own consisting of the two parts: premise and conclusion. Your arguments have to revolve around one of the two conclusions "Speaking in class is scary"and "Speaking in class is good for you". You can alternate the wording to make it fit your argument.

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Is Public Speaking Really That Scary?

CHAPTER 1 - OPEN UP

In Class 7 Together in class, hear a few arguments and discuss their validity. What makes a good argument?

put it simply, an argument consists of two main parts: ☞ ToA premise and a conclusion. Premises are the cornerstones in arguments. Every argument has to contain at least one premise in order for it to even get started. The premise is the central claim in the argument and it can be either an opinion, an assertion or a statement that someone considers a fact. A premise supports the conclusion. You would probably support the conclusion that you are mortal because all other human beings before you have been so. An example of a premise could be: "All men are mortal". Premises are often initiated (stated or implied) by words and phrases such as: due to the fact that, given that, since and because. E.g.: "Given that all men are mortal…" The Conclusion is where the argument finally takes you. It sums up your premises. The conclusion is what you want to convince your opponent of. An example of a conclusion could be: "You are mortal". Conclusions are sometimes initiated by words and phrases such as: therefore thus, we may conclude that and consequently. E.g.: "…thus, you are mortal". The argument in full looks like this: "Given that all men are mortal, thus you are mortal". Your nervousness about speaking in class might be based on fear of being wrong or being contradicted by a classmate or your teacher. Working on your arguments can therefore be a good idea in the process of making you a secure speaker.When you participate in a discussion, you use arguments to help you win your opponent over. Arguments can be either good or bad, and the better arguments you use, the better your chances are of winning the debate.

READING INSTRUCTIONS Individually 1 As you read the article "Is Public Speaking Really That Scary?", you will create your own glossary with words from the text. Your glossary is to contain eight to ten words. You have to describe the words in English using your own words, translate the words into Danish and state the word class to which the words belong. 2 According to the article, which fear is the most common one – and why? Write five keywords to help you remember the article. 3 Take a stand. Do you agree more with Tom Lamont or Viv Groskop? Make a list of the top three arguments from the one you agree with the most. Be prepared to discuss these in class.

OPEN WIDE

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CHAPTER 1 - OPEN UP

Is Public Speaking Really That Scary? BY TOM LAMONT AND VIV GROSKOP, THE GUARDIAN, NOV. 2, 2013

Public speaking is more frightening than death, said many respondents to a poll last week. Are we overreacting? 'People who speak confidently in public are not without fear. They just do it in spite of the fear,' says Viv Groskop.

TOM LAMONT, OBSERVER WRITER poll (subst) meningsmåling re'veal (vb) - afsløre writhe (vb) - vride sig 'neatly (adv) - pænt 'casket (subst) - kiste 'eulogy (subst) mindetale 'shiver (vb) - skælve 'muddle (vb) - forkludre humili'ation (subst) ydmygelse 'cherish (vb) værdsætte badge (subst) - emblem state (vb) - angive bar 'mitzvah - jødisk ceremoni svarende til konfirmationen 'feasibly (adv) - muligt

I wasn't so surprised, last week, to read the results of a poll revealing that people feared public speaking more than they feared being buried alive. Sure, I thought. Because being buried alive at least would be private. No audience to watch you writhe. Jerry Seinfeld once defined people like me, neatly, as those who would

5

be "better off in the casket than doing the eulogy" and I was touched that (according to OnePoll's findings) more than half of us feel this way. Yes, public speaking is "really that scary" if you consider the forced attention of a crowd a punishment and not a prize. I can't have been the only one to shiver when Lauren Laverne – a pro! – muddled her last speech at the

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Mercury awards on Wednesday, announcing that the winner was James Blunt, not James Blake. What chance does the amateur have of making it through an address without humiliation? Everyone's fears are personal, particular and (I suspect) quietly cherished. When you're a kid a fear is almost a badge of honour; it helps

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you begin to define yourself. I can still list my earliest friends and what they were afraid of: heights, spiders, Ursula from The Little Mermaid. At that age my stated fear was sharks, and public speaking was easy. I wanted the speaking parts in school plays and then suddenly – puberty – it became unthinkable to stand up and say words in front of an audience. For a clear 15 years, from bar mitzvah to marriage, I managed to avoid it. Two years ago, at my wedding, I gave as much of my brain as I feasibly could to feelings of joy, and love of my wife, and the rest, I'm afraid, was lost to terror about the speech. 10

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CHAPTER 1 - OPEN UP

VIV GROSKOP, JOURNALIST, WRITER AND COMEDIAN You mean you couldn't even get it together to give a speech at your own wedding? Man up! Or are you saying you gave such a bad speech that it was just blubbing? Because that can often be the best kind of speech. I want video evidence. 5

Like anyone who performs stand-up comedy, I get so tired of the "Oooh, that must be sooo scary" thing. Yes, it is. But if it's what you want to do, you

blub (vb) - flæbe pace (vb) - vandre utålmodigt frem og tilbage (in the) wings - i sidekulissen morph (vb) - forvandle sig 'phobia (subst) - fobi

get on and do it. I saw Jason Manford live at the Hammersmith Apollo last week. He told the 3,000 people there that he has terrible trouble with his nerves. Most standups pace backstage. Even Michael McIntyre does. I've seen 10

one comic almost have an asthma attack in the wings and then morph into Frank Sinatra as soon as he got under the spotlight. It's all smoke and mirrors. Funny you should mention sharks. I am about to teach a workshop  called How to Do Stand-Up and Never Be Afraid of Anything Ever Again (Within Reason, Does Not Include Shark Attacks) – at the end of the month.

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You are the ideal student. The thing is, the more you practise, the less the fear gets in the way. People who speak confidently in public are not without fear. They just do it in spite of the fear and with plenty of respect for it – because it's normal and natural. You learn to work with it. I note that weird things appeared on the list of phobias in the poll. Men OPEN WIDE

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CHAPTER 1 - OPEN UP

en'counter (vb)- møde Brian Blessed (prop) larmende og lalleglad britisk skuespiller gab (vb) - sludre 'zingy (adj) - (slang) peppet 'seasoning (subst) krydderi

with beards. Wooden lollipop sticks. If we all gave into our fears, we'd never leave the house for fear of encountering Brian Blessed or the remains of a Mini Milk. Fight the fear, Tom!

TL Comedians choose to do it. They're answering a need to get up in front of people and gab. What I feel (and what I assume the rest of the bury-me-

blank (vb) - blive helt tom i hovedet

alive brigade feels) is a need to never do any such thing. I'd also suggest

'shifty (adj) - upålidelig

you're not experiencing fear – not really – if it serves as a sort of zingy bit

ve'lociraptor (subs) kødædende dinosaur

of seasoning to an evening's standup.

stir (subst) - bevægelse script (vb) - skrive manuskript til 'tumbleweed (subst) vindheks

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What's cruel about public speaking, and why it weighs on so many, is that it tends to be forced on you (work, weddings, birthdays). Worse, it

'heckler (subst) person der afbryder

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tends to get booked way in advance. Today you might get set upon by

pounce (vb) - gå til angreb

a serial killer or a velociraptor, which would be terrible, but at least it would happen without warning. No sleep lost.

A speech looms. It creeps closer, often over months, nerves piling on nerves. You worry about blanking. You worry about that awful, shifty stir

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around a room that has not been made to laugh or applaud or say "ah" at a scripted moment. You worry about spontaneously passing out, or being sick, or doing something that will be remembered by everybody present forever. Far scarier than Brian Blessed.

VG Ah, Tom. Bless you and your velociraptor fantasies! I wish I could wave

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a magic wand and have people who hate public speaking never ever have to go through with it. It's true that frequently people have to "perform" against their will and standups generally don't. Although sometimes you don't want to when you see the crowd. Or lack thereof.

The thing is, comics worry about all of these things too: dry mouth,

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forgetting punchlines, tumbleweed, hecklers. And these worries are not unfounded. These things actually happen on stage all the time.

What you learn when you choose to put yourself in this position is that when the dreaded, self-imposed serial killer pounces, it can be awful. But you will not actually physically die as a result of public speaking. You may "die" on stage, though, and that is what you are afraid of, I think. This is really about control. Let go, man!

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CHAPTER 1 - OPEN UP

What's crucial in your fear is this: "Something that will be remembered by everybody present forever." I wish we were all so important to other people. We're not. You, just like the people in this survey, are not afraid of public speaking. You are afraid of what other people think of you. Let me assure you, they do not give a lollipop stick. They are focused on

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themselves. By the way, I think you should do improv, like Whose Line Is It Anyway? There's no warning when you do that. It will set you free.

'improv (subst) improviseret fx. stand-up chant (vb) - messe 'patently (adv) tydeligvis e'quip (vb) - udruste 'infamy (subst) skændsel mal'function (vb) - gå i stykker

TL I can see that it might be reassuring, if a little depressing, to inch through a speech by reminding yourself that nobody cares. Am I way off in thinking, though, that people quite enjoy seeing a public-speaking

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train-wreck? Have you ever seen that look that comes over a crowd when they chant "Speech, speech, speech!" at someone who patently isn't equipped for it? They look hungry.

I'll leave you with a thought for poor Rick Perry, the American politician who'll forever be remembered for torpedoing his run at the presidency,

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last year, when he blanked on some learned-by-heart facts at the height of a televised debate. In front of millions he ummed, patted his temple, and finally gave in with an "Oops". I thought: that's exactly what would happen if I ran for president. A ballsed-up speech, and infamy. Bury me alive first.

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VG I watched the Rick Perry thing. He was on autopilot – not talking from the heart but from an internal autocue written by a spin doctor. When it malfunctioned he was lost. But we got to see the real him: a blushing, silly little boy who was a much more interesting person than the smooth politician he was pretending to be. That moment was much more human

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and real than anything else he tried to show in that debate.

That's what people are thinking when they chant, "Speech, speech." Yeah, OK, a little bit of: "Give me blood." But also: "Let me see the real you, even if it's flawed and you make mistakes." And, most importantly

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of all: "Thank God it's not me up there." Sometimes it's your turn to be in that place and you just have to suck it up and do your best. Invite me to your wedding anniversary. Speech, speech!

OPEN WIDE

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Is Public Speaking Really That Scary?

CHAPTER 1 - OPEN UP

POST-READING In Class 1 Write your glossaries on the board. 2 Your teacher will then divide the class into five groups. The groups all stand up and form a line each in the back of the classroom.

Your teacher looks at the board, chooses a word, says it out loud, and the student standing first in line has to run to the board and write a sentence containing the word. The word has to be in the same word class as your teacher has pronounced it.

When the first student is back with his/her group, your teacher states a new word, the second student in line runs to the board etc.

The game is finished when the first group has completed ten sentences (or when your teacher calls it off).

In Groups of Three 3 The person who has the longest hair starts to retell the article using his/her notes. S/he has to speak nonstop for 30 seconds. Continue until all group members have had their 30 seconds of summarising. 3 Discuss why the fear of speaking is bigger than the fear of being buried alive. The discussion takes its starting point in your notes from the reading instructions. Remember to quote the article and move on rom the point of view presented in it. In Pairs 5 Find a partner who agrees with the person in opposition to yourself (if you agree with Tom Lamont, find a partner who agrees with Viv Groskop). 6 Compare the arguments you have found in your reading of the text. 7 Go online and find information about the two writers. Do you think their jobs reflect their stands on the issue of speaking in public? 8 Find a list online of most scary things in the world. Discuss with your partner why the list looks as it does. Do you agree with it? 9 Make your own Top Ten Scary Things List and bring it to class.

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CHAPTER 1 - OPEN UP

Find a partner who has the same number of siblings as yourself. With this partner, create four questions that you could ask any random person you meet on the street. E.g. "Where do you work?, Where did you buy those pants?, How do you like today's weather? What do you find scary? Etc." Your questions are to be written down on four small pieces of paper. Take the questions and take your partner for a walk. When you meet another pair, interview them using the questions on your pieces of paper. When the interview is over, swap partners and divide the questions randomly between you. The new pair moves on to interview a new pair, swap partners again and pass on the questions etc. Your teacher decides when the game is over.

ICEBREAKER

Icebreaker? 

Icebreaker d In Groups of Four, take a piece of paper for each of you and tear it into four parts, leaving you with four rather small pieces of paper. On each of these pieces, you write a sentence beginning with: "Would you rather‌" and ending with two alternatives. E.g. "Would you rather lose a leg or an arm", "Would you rather eat a snail or a worm". Only write questions you would not mind answering yourself! Place your 16 cards in a pile, mix them up and take turns answering one at a time. The game has two possible endings. Either you finish playing when all questions have been answered, or you go through the dilemmas one by one, discussing which three are the best. When you have chosen your top three, swap with another group that must discuss your top three and choose the best one. The best dilemmas are read aloud in class.

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The Death of the Short Story

CHAPTER 1 - OPEN UP

PRE-READING In Pairs 1 Feeling secure about the terminology used in school is a key factor in daring to speak. You may know the terminology, but you might not know completely what the term covers. Therefore, you now need to look up the following terms online: story poetry/poem memoir autobiography novel short story

obituary flash fiction prose poem eulogy lit mag

2 Compare your answers with the answers of another pair. Make sure you have a proper understanding of the terms by playing a game of flashcards on www.quizlet.com which you can find on www.lru.dk/openwide.

Alternatively, you can make your own cards writing pairs of term and explanation, mixing them all up and drawing the physical cards from the pile in front of you. Play the game in your groups either in the online or the physical version.

In Class 3 Each student chooses a random genre from the list you have just worked with. It does not matter which term you choose, but you must not tell anyone just yet. Individually, make a list of three clues about your genre. E.g. "My term sometimes rhymes" for poetry. 4 Stand up and mingle with your classmates. When you meet someone, ask him/her to give a clue, revealing a little bit about the term s/he has chosen. If you guess the term from the first clue, you are awarded three points. If you need two clues, you only get two points and if you need all three clues, you can add only one point to your scorecard. All students keep track of their own scores. Your teacher decides when the game is over.

READING INSTRUCTIONS Individually 1 Read the title of the short story and write down two possibilities for what this story might be about. It does not need to take up a lot of space, just two or three sentences explaining what you think the story will reveal. 2 As you read, mark all of the terms you have worked with in your pre-reading assignment. A few terms are not present in the story – why do you think they are on the list anyway? Write at least one plausible reason. 3 From the notes you have created for the text, prepare a one-minute presentation in which you offer your responses to the questions stated above. Be prepared to give your speech in class in front of a small group of classmates.

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The Death of the Short Story J. DAVID STEVENS

heed (vb) - lytte til quiche (subst) - tærte de'mise (subst) - bortgang innu'endo (subst) hentydning 'scrutiny (subst) -nøje granskning

The Story's death caught us all off guard. We'd been watching Poetry so closely that we failed to heed the warning signs. One day the Story was here, watching football, going to singles bars, making quiche. The next day – POOF!– we were reading about his demise in the Times, our bagels forgotten, our untouched lattes forming white rings on the dark wood of our kitchen tables. Naturally there was a public outcry. On TV, we watched the crowds stack flowers and stuffed animals outside libraries worldwide. Soon the talk shows buzzed with innuendo. A genre cut down in its prime, they claimed: Audiences were stunned when the Memoir admitted to an affair with the Story during her "regressed childhood memory' phase". Media scrutiny became so intense that the entire Autobiography family left town for a month to work out its issues in private. At the funeral, the Prose Poem delivered a eulogy where she referred to publishers as "market

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CHAPTER 1 - OPEN UP

'vulture (subst) - grib mill (vb) - valse 'sheepish (adj) - flov 'loutish (adj) - lømmelagtig con'sole (vb) - trøste

whores" and called academics "literary vultures happier since the Story's departure." But in truth, we were all to blame. We milled around the reception feeling sheepish, thinking about what we might have done. In a corner, the loutish Novel got drunk on cheap Chardonnay, and babbled

cryo'genically (adv) nedkølet til meget lave temperaturer

about the good times he and the Story had shared. He consoled himself by

'jangle (vb) - rasle med

comfort of the lit mag editors several feet away.

'whirlpool (subst) strømhvirvel 'oblong (subst) - aflang figur

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hugging random passersby and saying "I Love You!" much too loudly for the In the weeks that followed, rumors began to circulate about how the Story's brain had been cryogenically stored in a bunker near Omaha. A Glasgow professor offered a thousand pounds to anyone who could produce

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a sample of the Story's DNA, for cloning purposes. Still others maintained that the Story was not gone at all, but had faked his death and retired to an isolated mountain retreat in the Andes or the Himalayas. This last idea redeemed us somehow. We began to make up lies about the Story, lies which seemed like truth after a while. We pictured the Story

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sitting around a fireplace with John Lennon, Jesus, and Amelia Earhart, where they sipped century old cognac and talked about what players to put on their All-Time Fantasy Baseball Teams. They wore the socks that we'd lost in the dryer over the years and jangled the spare change that had dropped between our sofa cushions. A single bay window looked out over

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the mountains from which they could see, above the clouds, a spinning whirlpool of various colors. The colors, they imagined, were their dreams, and they waited patiently for those moments when a sliver of light would break loose from the oblong, suspended momentarily like a musical note on fire before streaking recklessly into the surrounding night. (1998)

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KAPTITEL The Death HER of the Short Story

CHAPTER 1 - OPEN UP

POST-READING In Class 1 The class is divided into two equally large groups. One half takes up the role of authors, the other half pretends to be journalists.

The two groups place themselves in separate rooms for approx. 15 minutes where their task is to prepare your role in an interview.

The journalists prepare questions for the author of "The Death of the Short Story", J. David Stevens. The questions should focus on the content of the short story and the terms from the list that you have been working with. Create five to eight questions to ask the authors.

The authors prepare for the questions they might be asked by the journalists. They go through the text and talk about the genres mentioned in the text and what the purpose of the text might be. Bear in mind that you are responsible for the content of the text and that the journalists can ask you anything about it.

2 When the 15 minutes are up, the journalists find an author to pair up with.

The journalists interview the authors about the short story.

The exercise has two possible endings. It can either be over when the interview is over, or you can continue working with the interview in the creative task described below.

CREATIVE TASK In Pairs 1 Taking a starting point in your initial interview, your task is now to make it look professional. You are to create a fictional interview with the author and in order to do this properly, you might need to seek some information online. 2 Go to www.lru.dk/openwide and find the link for Writer's Digest. Skim through a couple of interviews with real authors. 3 Be creative and come up with questions you would like to ask the author about anything.

Being equally creative, come up with funny, thought-provoking or emotional answers to your own questions. This is a creative task and has nothing to do with reality. Your task is to get talking and create a good interview. Therefore, you do not have to investigate the real author of the short story.

Create a manuscript and practice until you know it (almost) by heart. Finally, record your interview on your cellphone and prepare yourselves to show it in class.

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CHAPTER 1 - OPEN UP

ICEBREAKER

IcebreakerE Start out individually by writing a short reflection. Your topic is: "Am I still just as afraid to speak up in class as I was before"? Write freely for two minutes. Begin your reflection by placing your fear of speaking in class on a scale from one to ten. Elaborate your answer in your continued reflection. When the two minutes are up, get together In Groups of Three and compare reflections. Come up with a joint reflection in which you comment on which tasks have proven effective in getting you to dare to speak. Discuss your joint reflection in class.

IcebreakerL Find a link to the Forbes-article “What kids in 2015 want to be when they grow up” on www.lru.dk/openwide and look at the chart in the bottom of the article called “Top 3 professions kids want to be when they grow up by age”. Discuss with a partner: – Why plans about one’s career might change as one grows older? – If your plans about your future career have changed since you were a child? – If there are things or people that might influence your thoughts on your future career (teachers, friends, celebrities etc.)?

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The Use of Force

CHAPTER 1 - OPEN UP

PRE-READING In Pairs 1 Translate the following text: Novelle: En kortere prosafortælling, der er stramt bygget op omkring få personer, en enkel, karakteristisk situation eller begivenhed, der munder ud i en ofte overraskende, men ikke ulogisk slutning. Novellen kan ikke som romanen udfolde en mængde person-karakteristikker eller redegøre udførligt for baggrunden for den situation, der bliver skildret. Der fortælles om en afsluttet episode inden for et begrænset tidsrum.

(Fra: Gads litteraturleksikon)

2 Discuss with your partner what you expect of a short story entitled "The Use of Force". 3 Go online and find out how a dialogue is usually indicated in a short story (or any written text). If you already have the answer, you need to search to make sure you are correct.

READING INSTRUCTIONS Individually 1 Notice the point of view in the short story. Who is the narrator of the story? 2 Make a list of the four characters in the short story and write down three things you notice about the them. 3 As you read, write down which of the short story characteristics from your translation "The Use of Force" fullfills.

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Open Wide 2. udg  
Open Wide 2. udg