Open Wide

OPEN WIDE Jakob BĂŚkgaard, Kristine Lund Knudsen, Stinna Straagaard Pedersen & Eva Pors

Lindhardt og Ringhof

Jakob BĂŚkgaard, Kristine Lund Knudsen, Stinna Straagaard Pedersen & Eva Pors

OPEN WIDE Lindhardt og Ringhof

OPEN WIDE

Jakob Bækgaard, Kristine Lund Knudsen, Stinna Straagaard Pedersen & Eva Pors ©2015 Lindhardt & Ringhof Uddannelse, København – et forlag under Lindhardt og Ringhof Forlag A/S, et selskab i Egmont.

Forlagsredaktion: Ulla Benzon Malmmose Gra¿sk tilrettelægning og omslag: Ulla Korgaard, 'esigneriet Billedredaktør: Ulla Barfod Mekanisk, fotogra¿sk, elektronisk eller anden gengivelse af denne bog eller dele heraf er kun tilladt efter Copydans regler.

Forlaget har forsøgt at ¿nde og kontakte alle rettighedshavere.

Tryk: Livonia Print 1 udgave 1. oplag 2015 ISBN 978 87 70 666 060

CONTENT Forord

OPEN UP – WORKING WITH GENRE Is Public Speaking Really That Scary? --

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The 'eath of the Short Story --

17

The Use of Force --

23

Three Soldiers -

29

Poem in Which --

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Hansel and Gretel -

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Inaugural Address by President Barack Obama ---

44

Obama's Remarks in Aurora, Colorado --

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SYNTHESIS

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TWISTED MINDS – APPROACHING WRITTEN TEXTS

65

Blood --

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How to Set a House on Fire --

75

Graveyard Shift -

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Gravel ---

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How My Brother Tried to Kill Me in 'Honor Attack' -

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Gunman Kills 12 in Colorado, Reviving Gun 'ebate ---

99

SYNTHESIS

G'ONLINE – COMPREHENDING THE WORLD WIDE WEB

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107

TIME Magazine: Person of the Year, 2006 --

109

Front Region and Back Region --

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The Science Behind Why We Take Sel¿es -

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Going Viral

119

Online News

123

The Language of the Web

124

Adventures in Twitter Fiction

128

Evidence -

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That Final Paper You Want From Me --

131

SYNTHESIS

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BEAT IT – THE LYRICAL EXPRESSION OF AMERICAN HIP HOP A Short History of Hip Hop -

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Old School Hip Hop: The Message --

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The Golden Age of Hip Hop: Proud to Be Black -

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Colors --

163

Mainstream Hip Hop: Brenda's Got a Baby -

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Ten Crack Commandments ---

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New Millennium Rap: Stan -

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Black Skinhead ---

177

The Female Perspective: Love is Blind -

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Lookin Ass Nigga ---

185

The Rap Debate: An Open Letter to Rap Music (For My 'aughters) --

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SYNTHESIS

193

References

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

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O P E N W ID 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 ¿re kapitler omkring de kernefaglige kompetencer, der skal oparbejdes hos elever med engelsk på såvel Asom B-niveau i de gymnasiale uddannelser. Open Wide træner både grundlæggende mundtlighed og tekstnær analyse og fortolkning af en bred vifte af genrer: ¿ktion, 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, billedsprog og meget mere. 'et 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.

Bogen henvender sig primært til de første år på ungdomsuddannelserne, men vil også kunne anvendes i udskolingen, da der til alle teksterne i bogen er mange udførligt beskrevne arbejdsopgaver, som varierer både i sværhedsgrad og indhold. 'e anvendte tekster i bogen er overvejende af nyere dato og omfangsmæssigt begrænsede, så det ikke er nødvendigt at dele teksterne op under læsningerne. Til bogen Open Wide hører fyldestgørende og udførlige arbejdsopgaver til tekstmaterialet, som spænder vidt fra icebreaker-øvelser, hvor eleverne får tungen på gled, til grundige og forskelligartede tekstlæsningsøvelser, der stilladserer elevernes tekstlæsning, til kreative skriveøvelser, hvor eleverne blandt andet kan få lov til at skrive deres egen Twitter-roman. 'esuden er Àere af opgaverne suppleret med printklare arbejdsark, som kan ¿ndes på bogens tilknyttede website www.lru.dk/openwide.

Forfatterne Ringe, 2015

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O P E N W ID E

OPEN UP WORKING WITH GENRE

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Focus of the Chapter 'o 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 something in class? You might be one of the students 5

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. Through various exercises, texts and speeches you will learn to speak out in class. This chapter will concentrate

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on some of the dĭerent 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.

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

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CHAPTER 1 - OPEN UP

Is Public Speaking Really That Scary?

PRE-READING •

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:

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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.

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When the first minute is up, take turns reading your sentences out loud, one sentence at a time.

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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.

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Choose a speaker within your group who is willing to present your top five reasons in class.

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You will now be speedwriting. In speedwriting, 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.

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When finished, your teacher will ask you to read your speedwriting aloud, one at a time.

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Alternatively, you can read your speedwriting aloud to the person sitting next to you and discuss it with him or her.

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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.

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Watch Monty Python's "Argument Clinic" sketch on www.youtube.com.

Find the direct link at www.lru.dk/openwide.

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Discuss the quote:

"An argument is a connected series of statements intended to establish a de¿nite 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?

put it simply, an argument To consists of two main parts: A premise and a conclusion.

Premises are the cornerstones in arguments. rder for it to Every argument has to contain at least one premise in order 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 Âżnally 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".

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CHAPTER 1 - OPEN UP

•

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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Together in class, you hear a few arguments and discuss their validity.

What makes a good argument?

READING INSTRUCTIONS •

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.

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According to the article, which fear is the most common one – and why? Write five keywords to help you remember the article.

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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.

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?

3HRSOH ZKR VSHDN FRQ¿GHQWO\ LQ SXEOLF DUH QRW ZLWKRXW IHDU They just do it in spite of the fear,' says Viv Groskop.

TOM LAMONT, OBSERVER WRITER poll (subst) meningsmåling

I wasn't so surprised, last week, to read the results of a poll revealing that

re'veal (vb) - afsløre

people feared public speaking more than they feared being buried alive.

writhe (vb) - vride sig

Sure, I thought. Because being buried alive at least would be private. No

'neatly (adv) - pænt 'casket (subst) - kiste 'eulogy (subst) mindetale

audience to watch you writhe.

Jerry Seinfeld once de¿ned people like me, neatly, as those who would be "better ŏ in the casket than doing the eulogy" and I was touched that (according to OnePoll's ¿ndings) more than half of us feel this way.

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Yes, public speaking is "really that scary" if you consider the forced attention

'shiver (vb) - skælve

of a crowd a punishment and not a prize. I can't have been the only one

'muddle (vb) - forkludre

to shiver when Lauren Laverne – a pro! – muddled her last speech at the

humili'ation (subst) ydmygelse

Mercury awards on Wednesday, announcing that the winner was James

'cherish (vb) værdsætte

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

badge (subst) - emblem state (vb) - angive bar 'mitzvah - jødisk ceremoni svarende til kon¿rmationen 'feasibly (adv) - muligt

you begin to de¿ne yourself. I can still list my earliest friends and what 10

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

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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.

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CHAPTER 1 - OPEN UP

blub (vb) - Àæbe

VIV GROSKOP, JOURNALIST, WRITER AND COMEDIAN

pace (vb) - vandre utålmodigt frem og tilbage

You mean you couldn't even get it together to give a speech at your own

(in the) wings - i sidekulissen morph (vb) - forvandle sig Brian Blessed (prop) larmene og lalleglad britisk skuespiller 'phobia (subst) - fobi

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.

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

en'counter (vb)- møde

get on and do it. I saw Jason Manford live at the Hammersmith Apollo last

gab (vb) - sludre

week. He told the 3,000 people there that he has terrible trouble with his

'zingy (adj) - (slang) peppet

nerves. Most standups pace backstage. Even Michael McIntyre does. I've seen

'seasoning (subst) krydderi

one comic almost have an asthma attack in the wings and then morph into

blank (vb) - blive helt tom i hovedet

Frank Sinatra as soon as he got under the spotlight. It's all smoke and mirrors.

'shifty (adj) - upålidelig ve'lociraptor (subs) Àesh-eating dinosaur

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Funny you should mention sharks. I am about to teach a workshop called How to 'o Stand-Up and Never Be Afraid of Anything Ever Again (Within Reason, 'oes Not Include Shark Attacks) – at the end of the month.

You are the ideal student. The thing is, the more you practise, the less the

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fear gets in the way. People who speak con¿dently 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 with beards. Wooden lollipop sticks. If we all gave into our fears, we'd never

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

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you're not experiencing fear – not really – if it serves as a sort of zingy bit of seasoning to an evening's standup.

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 tends to get booked way in advance. Today you might get set upon by a serial killer or a velociraptor, which would be terrible, but at least it would happen without warning. No sleep lost.

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A speech looms. It creeps closer, often over months, nerves piling on

stir (subst) - bevægelse

nerves. You worry about blanking. You worry about that awful, shifty stir

script (vb) - skrive manuskript til

around a room that has not been made to laugh or applaud or say "ah" at

'tumbleweed (subst) vindheks

a scripted moment. You worry about spontaneously passing out, or being 5

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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'heckler (subst) - person der afbryder pounce (vb) - gå til angreb 'improv (subst) improviseret fx. stand-up chant (vb) - messe

a magic wand and have people who hate public speaking never ever have

'patently (adv) tydeligvis

to go through with it. It's true that frequently people have to "perform"

e'quip (vb) - udruste

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

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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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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 25

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.

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 ŏ in thinking, though, that people quite enjoy seeing a public-speaking train30

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.

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'infamy (subst) skændsel mal'function (vb) - gå i stykker

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, 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 ¿nally 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

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alive ¿rst.

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

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politician he was pretending to be. That moment was much more human 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 Àawed and you make mistakes." And, most importantly 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!

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CHAPTER 1 - OPEN UP

POST-READING •

Write your glossaries on the board.

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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.

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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.

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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.

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

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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.

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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 from the point of view presented in it.

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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).

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Compare the arguments you have found in your reading of the text.

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Go online and find information about the two writers. Do you think their jobs reflect their stands on the issue of speaking in public?

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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?

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Make your own Top ten Scary Things list and bring it to class.

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CHAPTER 1 - OPEN UP

Ice-breaker ?

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Find a partner who has the same number of siblings as yourself.

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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.

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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.

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When the interview is over, swap partners and divide the questions randomly between you.

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The new pair moves on to interview a new pair, swap partners again and pass on the questions etc.

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Your teacher decides when the game is over.

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CHAPTER 1 - OPEN UP

The 'eath of the Short Story Ice-breaker CD 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 chose the best one. The best dilemmas are read aloud in class.

PRE-READING •

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

autobiography

novel

obituary

poetry/poem

prose poem

short story

flash fiction

memoir

eulogy

lit mag

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Compare your answers with the answers of another pair.

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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.

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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.

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Play the game in your groups either in the online or the physical version.

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CHAPTER 1 - OPEN UP

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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.

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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.

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Your teacher decides when the game is over.

READING INSTRUCTIONS •

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.

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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.

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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 ŏ 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 Àowers and stŭed 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 ăair 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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'vulture (subst) - grib mill (vb) - valse 'sheepish (adj) - Àov 'loutish (adj) - lømmelagtig con'sole (vb) - trøste cryo'genically (adv) nedkølet til meget lave temperaturer 'jangle (vb) - rasle med 'whirlpool (subst) strømhvirvel 'oblong (subst) - aÀang ¿gur

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

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hugging random passersby and saying "I Love You!" much too loudly for the comfort of the lit mag editors several feet away.

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 ŏered a thousand pounds to anyone who could produce

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a sample of the Story's 'NA, 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 ¿replace 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 ¿re before streaking recklessly into the surrounding night.

(1998)

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CHAPTER 1 - OPEN UP

POST-READING •

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

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

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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.

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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.

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

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The journalists interview the authors about the short story.

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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 •

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.

•

Go to www.lru.dk/openwide and find the link for Writer's Digest. Skim through a couple of interviews with real authors.

•

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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Ice-breaker E 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.

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The Use of Force Ice-breaker L Sit in groups of three to do this simple exercise. It is called: "Tell Me About Your Morning", and it is as simple as that. Sitting in your groups of three, take turns telling each other about your morning.

You can tell your fellow group members when you got up, when you took the bus or rode your bike to school, what you had for breakfast, if you met someone on your way to school etc. The exercise is finished when all members of the group have shared their morning events.

PRE-READING •

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 personkarakteristikker eller redegøre udførligt for baggrunden for den situation, der bliver skildret. 'er fortælles om en afsluttet episode inden for et begrænset tidsrum.

(Fra: Gads litteraturleksikon) •

Discuss with your partner what you expect of a short story entitled: "The Use of Force".

•

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 •

Notice the point of view in the short story. Who is the narrator of the story?

•

Make a list of the four characters in the short story and write down three things you notice about the them.

•

As you read, write down which of the short story characteristics from your translation "The Use of Force" fullfills.

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THE USE OF FORCE WILLIAM CARLOS WILLIAMS 'startled (adj) overrasket apolo'getic (adj) undskyldende damp (adj) - fugtig 'motion (vb) - gøre tegn til dis'trustfully (adv) mistroisk 'steady (adj) - rolig 'heifer (subst) pigebarn

OHDÀHW (subst)- pjece photogra'vure (subst) dybtryk tho't (vb) - sammentrækning af thought trial shot (subst) forsøg diphthe'ria (subst) difteri

They were new patients to me, all I had was the name, Olson. Please come down as soon as you can, my daughter is very sick.

When I arrived I was met by the mother, a big startled looking woman, very clean and apologetic who merely said, Is this the doctor? and let me in. In the back, she added. You must excuse us, doctor, we have her in the

5

kitchen where it is warm. It is very damp here sometimes.

The child was fully dressed and sitting on her father's lap near the kitchen table. He tried to get up, but I motioned for him not to bother, took ŏ my overcoat and started to look things over. I could see that they were all very nervous, eyeing me up and down distrustfully. As often, in such cases,

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they weren't telling me more than they had to, it was up to me to tell them; that's why they were spending three dollars on me.

The child was fairly eating me up with her cold, steady eyes, and no expression to her face whatever. She did not move and seemed, inwardly, quiet; an unusually attractive little thing, and as strong as a heifer in

15

appearance. But her face was Àushed, she was breathing rapidly, and I realized that she had a high fever. She had magni¿cent blonde hair, in profusion. One of those pictures children often reproduced in advertising leaÀets and the photogravure sections of the Sunday papers.

She's had a fever for three days, began the father and we don't know

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what it comes from. My wife has given her things, you know, like people do, but it don't do no good. And there's been a lot of sickness around. So we tho't you'd better look her over and tell us what is the matter.

As doctors often do I took a trial shot at it as a point of departure. Has she had a sore throat?

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Both parents answered me together, No . . . No, she says her throat don't hurt her. 'oes your throat hurt you? added the mother to the child. But the little girl's expression didn't change nor did she move her eyes from my face.

Have you looked?

30

I tried to, said the mother, but I couldn't see.

As it happens we had been having a number of cases of diphtheria in the school to which this child went during that month and we were all, quite apparently, thinking of that, though no one had as yet spoken of the thing.

Well, I said, suppose we take a look at the throat ¿rst. I smiled in my 24

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best professional manner and asking for the child's ¿rst name I said, come on, Mathilda, open your mouth and let's take a look at your throat.

coax (vb) - prøve at overtage ground (vb) - skære

Nothing doing.

Aw, come on, I coaxed, just open your mouth wide and let me take a 5

look. Look, I said opening both hands wide, I haven't anything in my hands.

Just open up and let me see.

Such a nice man, put in the mother. Look how kind he is to you. Come on, do what he tells you to. He won't hurt you.

At that I ground my teeth in disgust. If only they wouldn't use the

10

word "hurt" I might be able to get somewhere. But I did not allow myself to be hurried or disturbed but speaking quietly and slowly I approached the child again.

As I moved my chair a little nearer suddenly with one catlike movement both her hands clawed instinctively for my eyes and she almost

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reached them too. In fact she knocked my glasses Àying and they fell, though unbroken, several feet away from me on the kitchen Àoor.

Both the mother and father almost turned themselves inside out in embarrassment and apology. You bad girl, said the mother, taking her and shaking her by one arm. Look what you've done. The nice man ...

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For heaven's sake, I broke in. 'on't call me a nice man to her. I'm here to look at her throat on the chance that she might have diphtheria and possibly die of it. But that's nothing to her. Look here, I said to the child, we're going to look at your throat. You're old enough to understand what I'm saying. Will you open it now by yourself or shall we have to open it for you?

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Not a move. Even her expression hadn't changed. Her breaths however

throat culture (subst) bakterieprøve fra halsen

were coming faster and faster. Then the battle began. I had to do it. I had to

ad'monish (vb) irettesætte

have a throat culture for her own protection. But ¿rst I told the parents that

'savage (adj) - vild

it was entirely up to them. I explained the danger but said that I would not

con'temptible (adj) foragtelig

insist on a throat examination so long as they would take the responsibility.

en'sue (vb) - følge 'abject (adj) - foragtelig breed (vb) - avle a'chieve (vb) - opnå 'agony (subst) - smerte appre'hension (subst) ængstelse 'spatula (subst) - spatel 'molars (subst) kindtænder mouth 'cavity (subst) mundhule

5

If you don't do what the doctor says you'll have to go to the hospital, the mother admonished her severely.

Oh yeah? I had to smile to myself. After all, I had already fallen in love with the savage brat, the parents were contemptible to me. In the ensuing struggle they grew more and more abject, crushed, exhausted while she

10

surely rose to magni¿cent heights of insane fury of ĕort bred of her terror of me.

The father tried his best, and he was a big man but the fact that she was his daughter, his shame at her behavior and his dread of hurting her made him release her just at the critical times when I had almost achieved success,

15

till I wanted to kill him. But his dread also that she might have diphtheria made him tell me to go on, go on though he himself was almost fainting, while the mother moved back and forth behind us raising and lowering her hands in an agony of apprehension.

Put her in front of you on your lap, I ordered, and hold both her wrists.

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But as soon as he did the child let out a scream. 'on't, you're hurting me. Let go of my hands. Let them go I tell you. Then she shrieked terrifyingly, hysterically. Stop it! Stop it! You're killing me! 'o you think she can stand it, doctor! said the mother.

You get out, said the husband to his wife. 'o you want her to die of

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diphtheria?

Come on now, hold her, I said.

Then I grasped the child's head with my left hand and tried to get the wooden tongue depressor between her teeth. She fought, with clenched teeth, desperately! But now I also had grown furious - at a child. I tried

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to hold myself down but I couldn't. I know how to expose a throat for inspection. And I did my best. When ¿nally I got the wooden spatula behind the last teeth and just the point of it into the mouth cavity, she opened up for an instant but before I could see anything she came down again and gripping the wooden blade between her molars she reduced it to splinters before I could get it out again.

Aren't you ashamed, the mother yelled at her. Aren't you ashamed to act like that in front of the doctor?

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Get me a smooth-handled spoon of some sort, I told the mother. We're going through with this. The child's mouth was already bleeding. Her tongue

5

de'sist (vb) - holde op gag (vb) - få opkastfornemmelser

was cut and she was screaming in wild hysterical shrieks. Perhaps I should

'tonsils (subst) - mandler

have desisted and come back in an hour or more. No doubt it would have

'valiantly (adv) heltemodigt

been better. But I have seen at least two children lying dead in bed of neglect in such cases, and feeling that I must get a diagnosis now or never I went at it again. But the worst of it was that I too had got beyond reason. I could have torn the child apart in my own fury and enjoyed it. It was a pleasure to attack her. My face was burning with it.

The damned little brat must be protected against her own idiocy, one says to one's self at such times. Others must be protected against her. It is a social necessity. And all these things are true. But a blind fury, a feeling of adult shame, bred of a longing for muscular release are the operatives. One goes on to the end.

In a ¿nal unreasoning assault I overpowered the child's neck and jaws.

I forced the heavy silver spoon back of her teeth and down her throat till she gagged. And there it was - both tonsils covered with membrane. She had fought valiantly to keep me from knowing her secret. She had been hiding that sore throat for three days at least and lying to her parents in order to escape just such an outcome as this.

Now truly she was furious. She had been on the defensive before but now she attacked. Tried to get ŏ her father's lap and Ày at me while tears of defeat blinded her eyes.

(1938)

POST-READING •

Discuss what you expected of the story before you had read it. Did your expectations live up to what you actually encountered in the story? In your class debate, you should also comment on the short story characteristics that you found in your reading instructions.

•

You probably noticed while reading "The Use of Force" that William Carlos Williams does not use quotation marks to open and close the dialogues between the characters in the short story. What effect does it have that he leaves the quotation marks out - both on you reading the story and on the story itself?

•

Turn to the person sitting next to you and take turns commenting on the ending of the story.

Do you think it is a good or a bad ending? Discuss the same thing in class and remember to have good arguments.

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•

Write an account of what happens in the story. Your account should consist of 70 words - no more, no less.

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Describe each charater in the text with five adjectives. From these adjectives, create five sentences containing at least one verb, one adverb and one noun. The sentences must describe the characters in the text.

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What have you noticed about the narrator? Compare your individual notes from the reading instructions. Does the doctor have a normal reaction to the girl's behavior, and does he act professionally in your opinion?

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Is it possible to decide who is good and bad in the story? Discuss the different characters' motifs for reacting as they do. Use your notes from your reading instructions to help you answer this question.

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The doctor's examination of Mathilda somewhat resembles a rape. Find evidence in the text to support this claim. Why do you think a doctor's examination is portrayed like this?

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Why is the story called "The Use of Force"? Which of the characters can find themselves included in this title?

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Discuss whether you like the story or not. Which elements are good and which ones do not appeal to you?

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Discuss the findings from your group work with your teacher. When you get to the final question, get up and divide the class into two halves. The ones who liked the story stand in one side of the classroom, and the ones who did not like it move to the other side of the classroom.

4 Those of you who did like it, create a list of five things you liked about the story.

4 If you did not like it, create a similar list in which you state the five things you found to be awful about the text.

4 In your large groups, discuss if you necessarily have to like a story to find something good in it. Make a list of five things you can always work with in a text no matter whether you like it or not. Write these five things on the black board.

•

Discuss in class why some people like some texts while other people find the same texts uninteresting.

CREATIVE TASK •

Make a cartoon of the content of the story. You can create cartoons for free on www.stripgenerator.com and share them with your classmates via a link you generate when your cartoon is complete.

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Three Soldiers Ice-breaker d Get out of your chairs and form a line in which you place yourselves according to when your birthdays are. If you have someone in your class whose birthday is January 1st, s/he is ďŹ rst in the line, the student whose birthday comes next is second and so on. When you have formed the line, look at the three students standing next to you, and form a group of four.

When you are in your groups of four, each of you ďŹ nd a piece of paper that you tear into four pieces.

On each piece of paper, you write the name of someone famous or at least known to everyone (your principal, maybe). Fold it up and place it in a pile in the middle of your table - leaving you with 16 names.

Pair up two and two. You now have 30 seconds to name as many of the famous people on the notes as possible. Pair number one begins by naming who will guess and who will try to explain who the persons on the notes are. The student explaining draws a name from the pile and tries to explain who the person on the note is. The one of you explaining can say anything about the person, except the name.

You win the notes of which you guess the names, and you can continue drawing notes for the entire 30 seconds. When the 30 seconds are up, pair number two gets a shot to see how many notes they can gather. The game ends when there are no more notes left in the pile. The winning group is the one with the highest number of cards won.

Reading between the lines

When working with texts, it is often just as interesting to look at what is not being said in the text, as it is to look at what in fact is stated directly. We call it reading between the lines when you look for things that are not directly written in the text you are working with. Reading between the lines places a lot of responsibility on the reader, as it is up to him or her to Âżnd the missing pieces and add meaning to the text at hand. The term minimalism is deÂżned by Merriam-Webster as:"a style or technique (as in music, literature, or design) that is characterized by extreme spareness and simplicity".

(From: http://www.merriam-webster.com/dictionary/minimalism)

PRE-READING •

Discuss with your partner why authors choose to write extremely simple texts and keep a lot of information from the readers. List the top three of your reasons.

•

Make a short list containing ďŹ ve to eight things that you think must be present in a given text in order for it to make sense. (E.g. a main character, a description of the environment etc.)

•

Write down your lists on a piece of paper that you hang on the wall somewhere in your classroom.

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•

When all the pieces of paper are on the wall, walk around looking at your fellow classmates' lists. You must stop to ask at least three other pairs why they have prioritised the way they have. Remember to listen attentively and ask counter questions.

•

Find your computers and speedwrite a 3-2-1: 4 3 things that you think characterise good literature.

4 2 things that make you want to read a book or a short story.

4 1 thing that makes you want to stay away from a text.

You have three minutes to complete your 3-2-1. A few students are chosen to share their speedwriting in class.

READING INSTRUCTIONS FOR COLLABORATIVE READING •

The class is divided into three groups of approximately the same size. Each group is assigned a soldier's voice. (One group is assigned to "1. The Hardest Question", the second group is assigned "2. Foreign War", and the third group is assigned "3. Decisions, Decisions".)

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•

When your teacher tells you to do so, read your soldier's voice once and mark your understanding of it on a scale from one to ten. If you fully understand the meaning of it and feel as though you can offer a full interpretation after having read it once, mark it with a ten.

Otherwise, find a different number on the scale that represents your understanding of it, having read it only once. This should take approx. 30 seconds.

•

Your teacher will let you know when round two begins. In round two, read your soldier's voice once more - this time a little slower. Again, you should mark your understanding on a scale from one to ten. This round lasts about 40 seconds.

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In round three, read your soldier's voice again, but this time you write down two questions that you have for it. It can be things you do not understand, things that you wonder about, words that do not make sense to you etc. This round lasts about one minute.

•

Round four calls for you to have a partner. Turn to the person sitting next to you and take turns reading your soldier's voice aloud.When you have both read the text aloud, mark your understanding of it on a scale from one to ten individually. When you have done that, compare your number to the number of your partner. Do you have the same number or not? Discuss your understanding of the text quickly. This round lasts about two and a half minutes.

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In round five, which lasts two minutes, speedwrite everything you can think of when you think about your soldier's voice. When you have done this, mark your understanding on a scale from one to ten.

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In round six, gather in your large groups to discuss your understanding of the text. All members of the group start out by stating their understanding, adding at least three sentences to substantiate the grade. Within your large groups, you must come up with responses to the following questions: 4 Who is speaking?

4 Where is he at the time of writing?

4 Does he write about the present or past?

4 What has he experienced and how can you see that?

4 What is his state of mind and on what do you base your response?

4 What information does the reader need to add him/herself to fully understand this part of the text?

•

You can finish this exercise in two ways. You can either go back to the classroom and present in there, or you can move on to the creative task. If you choose to go back to the classroom, please make sure that you have someone in your group who is willing to read your soldier's voice aloud to your fellow classmates as you have not read and worked with the same ones. On the background of your reading, present your answers to your fellow classmates and explain how you read between the lines.

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THREE SOLDIERS BRUCE HALLAND ROGERS 'ordnance (subst) - (her) svĂŚrt skyts 'tarmac (subst) - asfalteret vej foe (subst) - fjende carve (vb) - skĂŚre

1. The Hardest Question My marines bring me questions: "When do we get to shower?" "Sergeant, how do you say 'Good afternoon' again?" "Sarge, where can I get more gun oil?"

I have answers. "Tomorrow, maybe." "Maysuh alheer." "Use mine. " Answering their questions is my job. But when Anaya was shot and bleeding

5

out, he grabbed my arm and said, "Sergeant? Sergeant?" I understood the question, but damn. I didn't have an answer.

2. Foreign War No U.S. soldier who could see that kid would have shot him: But that's longrange ordnance for you. Calder stood next to me in the street, looking at the

10

pieces. "We've come so far from home," he said, "that we'll never get back."

"You dumbass," I said. But a year later I stood on the tarmac hugging my child, thinking of that kid in pieces, and I wasn't home.

3. Decisions, Decisions In morning twilight, far away, my men are making up their minds: What's

15

that guy carrying?

Friend or foe?

I should be there, helping them decide. My wife and my parents do their best to make Christmas dinner conversation around my silence. An hour ago, I was yelling at Angie for turning on the damn news. My father, carving, won't meet my eyes. He says, "White meat, or dark?"

(2004)

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CREATIVE TASKS IN LARGE GROUPS •

Create a video-presentation of your interpretation of your soldier's voice. Please note that you have not read the same voice as the other group members, and you will therefore need to read your voice aloud in the beginning of your video. Find out how you want to read it.

Which emotions have you found in the text? Discuss how you communicate those emotions in your reading of the text. You can have one person read everything, or you can take turns reading the text.

•

Prepare a presentation in which you answer the six questions from the reading instruction.

For instance, you can make drawings on your computer or by hand to illustrate your answers.

You can also make a re-enactment of the scene in which you act out the events you think might have led to the point your soldier finds himself at at the time of writing. You could create a poem or a rap song in which you present your answers. The only thing obligatory is your reading of your soldier's voice – everything else is up to your imagination.

•

The presentations are shown in class.

•

Discuss if "Three Soldiers" is good literature. Use your 3-2-1's to substantiate your answers.

Your teacher will walk around the classroom and challenge your view points, so make sure that you have good arguments.

4 If you find it to be good literature, does it fit the criteria you listed when you did your speedwriting? If not, why do you like it anyway?

4 If you do not like it and do not find it to be good literature, discuss what you dislike and why you are not attracted by it.

4 Look up the term pre-understanding and make a few notes to help you remember it.

Afterwards, underline the places in the entire text (not just your own soldier's voice) where you have to read between the lines to understand the meaning. Find out which underlined text that appeals the most to you and come up with a possible reason as to why you like that one more than the other two. Does it have anything to do with your pre-understanding?

•

Discuss and evaluate your work with "Three Soldiers" with your teacher and fellow classmates.

4 Did you understand it at first?

4 How did you like working with it?

4 What does it do to a text and its reader that you have to read between the lines?

4 How does your pre-understanding affect your understanding of the text? Does it matter?

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Poem in Which Many of you probably dread poetry. You might be afraid to speak up when it comes to poems because you fear that what you are about to say might be wrong. 'o not worry. Poetry tends to toy with your dĭerent pre-understandings, and one interpretation is often just as good as the next one. Think about it this way: If a poem gives you a special feeling or awakes something inside of you, then how can that be wrong?

Ice-breaker E Get together in groups of four. You now have to play a game called "Two Truths and a Lie".

On separate pieces of paper or on your computers, you each write two truths and a lie about yourselves. You now have to interview each other to establish where the lie is hidden with every one of you. Take turns being in the hot seat, and the remaining group members have one minute to ask questions to the one being interviewed. Lie away, the game is (also) about misleading your classmates.

The game is finished when you have all been in the hot seat and all of the lies have been revealed.

PRE-READING •

Take a moment to brainstorm poetry you have encountered in your life so far. It can be in school, poetry you have written on your own or dealt with in any other way. Come up with one good and one bad experience.

•

Afterwards, walk around the classroom and find a partner you ask the following question: "Tell me about an experience you have had with poetry".Your partner tells you about one of his/her experiences.

•

The game has four rounds and you must all share and listen twice.

•

Recap the term pre-understanding and discuss why it is an important term to be aware of when working with poetry.

•

Write down three things each from your own lives that you think might affect your reading of poetry. Things that tend to affect your pre-understanding could be: death, illness, the way you were brought up, witnessing a wedding, going to boarding school etc.

•

Bring your six things to class and discuss with your teacher and classmates how these many pre-understandings might result in various interpretations of the poem you are about to read.

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•

Find out what a "webzine" is and discuss the following: 4 Which opportunities do webzines offer poets?

4 Do they have some negative aspects?

4 Can a poem be just as recognised when it is published in a webzine as it would be if it was published in a book?

READING INSTRUCTIONS •

Read the poem once inside your head.

•

Read it again, but this time, you read it aloud.

•

Read it a third time focusing on the headline of the poem.

•

Read it a fourth time focusing on the structure of the poem.

Are there any line breaks you especially notice?

•

Read it a fifth time and think about how it makes you feel.

•

Make good notes and bring them to class.

POEM IN WHICH WAYNE HOLLOWAY-SMITH She always leaves a bacon sandwich on the kitchen table, a message scribbled in ketchup beneath its upper rung of bread.

In which I swallow whole the note and never know it's there.

5

I spell I'm sorry with sodden clothes, with smiling too long and Àower stems, on my mistakes, as they are happening all of them.

Poem in which my mother is maddened, not disappointed.

Poem in which all my mothers are maddened: the old ladies smoking at the bus stops, scanning bacon and bread loaves at Tesco,

10

under Àapping umbrellas in King's Cross and High Barnet. Poem in which all of them, are pretty and called Margaret.

In which the rain spells their name on me

rung (subst) - trin 'sodden (adj) - drivvåd stem (subst) - stilk 'Tesco (prop) supermarkedskæde med hovedsæde i Storbritannien ÀDS (vb) - blafre King's Cross (prop) undergrundsstation i London High Barnet (prop) undergrundsstation i London patch (subst) - stykke (jord) es'carpment (subst) stejl skråning

and dry patches of escarpment.

(2013)

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POST-READING •

Write something from your reading instructions on the board. You can only write one word not a sentence!

•

Together with the person sitting next to you, take a few minutes to look at the words on the board and talk about what they say about the poem.

•

With your teacher, discuss your findings and sort the words in a 'positive' and 'negative' column.

•

Turn to your partner and discuss the purpose of the balance of positive and negative words.

•

Take turns reading the poem aloud the way you think it is supposed to be read. Remember your considerations about line breaks and the structure as such. They hold crucial importance in reading the poem aloud. Discuss why. Create a perfect reading of the poem and be prepared to use it later.

•

In your reading instructions, you had to consider how the poem made you feel. In your groups, you have to find evidence in the poem to substantiate these emotions. Your perfect reading of course has to be able to show these emotions.

•

Look through the poem with your partners to establish: 4 Who are mentioned and how are they mentioned?

4 Who are the women?

4 Does it matter that the poem has two stanzas?

4 Is the mood the same throughout the poem?

4 How does the choice of words affect the poem?

4 What do you think of the headline?

CREATIVE TASK IN THE SAME GROUPS •

Make a movie to illustrate your interpretation. The movie must clearly show the emotions of the poem and how you interpret the title and choice of words. You can make drawings, act on your own, make a puppet theatre etc. The only demand is that your perfect reading must be heard in the background serving as the narrative.

•

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All three of you have to be able to present your interpretation of the poem in new groups.

CHAPTER 1 - OPEN UP

•

Together with your teacher, evaluate your group work based on the following questions: 4 Are you happy with your result? Why/why not?

4 What went really well and what failed to go as planned?

4 Which obstacles did you not overcome (if any), and how might you have solved them had you had more time?

4 Do you have to agree on an interpretation to come up with a good final product?

4 Do you feel ready to present in new groups? Why/why not?

•

Talk to the person sitting next to you and ask him/her, if s/he still wonders about something in the poem. Write down the unanswered questions you might both have.

•

Take turns presenting the most pressing questions to the rest of the class to see if you can answer each other's questions.

IN NEW GROUPS OF THREE

•

Get together with two new partners with whom you did not make your movie.

•

Take turns showing your movies. Guess the mood and the interpretation of the title and choice of words of the movie being shown. S/he who has made the movie has to be able to defend the movie and explain any misunderstandings there might be. Of course, you can use answers from the class discussion in your defence of the movie.

•

Go to www.lru.dk/openwide and find "Poem in Which".

•

Notice that the title is different. Does that affect the way you read the poem? If so, how?

•

Determine if the webpage lives up to the genre of being a "webzine"?

•

Find out what the purpose of the webpage is. Does this affect the way you read the poem?

If so, how?

•

Bring your answers to class.

CREATIVE TASK IN GROUPS, PAIRS OR INDIVIDUALLY

•

Go to www.lru.dk/openwide and click on the link for "Poem in Which".

•

Read at least three of the poems on the page. Of course, you are allowed to read more.

•

Create your own "poem in which". You must follow the rules of the webpage, which you can find under "about".

•

You can either read the poems aloud in class, in groups or you can submit them to the webpage.

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Hansel and Gretel Ice-breaker in groups of three B • Discuss the following dilemma: Maya has been interested in Theodore for a long time and they are both single young adults aged 21. They have made out a couple of times, but it has not developed into anything serious yet. There is no doubt, however, that they both are quite interested in taking the relationship to the next level.

Yesterday, Maya's father, who has been single for a long time, brought home a woman he had been seeing for quite a while. He told Maya that it was serious, and that he was really falling for this woman. This morning, Maya found out that the woman her father is seeing is Theodore's mother. What should Maya do? Keep irting with Theodore or call it off as soon as possible?

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PRE-READING •

The oral tradition contains many different subgenres such as folk tales, legends, myths and fairy tales. Look up the definitions of the four subgenres and come up with at least one example for each genre. Go to www.lru.dk/openwide for links that can help you in your search.

•

Together with your teacher, determine what "the oral tradition" means and why the subgenres you have worked with in your pair work all belong to this tradition. Make a list of famous myths, legends and fairy tales and discuss where these come from, and how they have become the versions we know today.

4 Brainstorm and come up with as many subgenres as possible.

4 Establish the differences between the four subgenres: folk tales, legends, myths and fairy tales.

IN LARGE GROUPS

•

Divide the class into four groups who is each assigned one of the following genres: folk tales, legends, myths and fairy tales.

•

Create an online document that allows joint writing e.g. www.docs.google.com. In this document, write a definition of your subgenre. The definition is to contain a brief history of the subgenre, traits defining the genre and at least three famous examples of the genre. Make good notes that are easy to understand for a neutral spectator. Be prepared to present your definition orally.

READING INSTRUCTIONS •

Read "Hansel and Gretel" in your groups taking turns reading aloud. While you read, you are to find characteristics that show the subgenre to which "Hansel and Gretel" belongs. Find at least three examples from the text that prove you right.

•

Furthermore, mark the seven most important elements of action in the story. Discuss within your group why your seven chosen elements are crucial to the action of the story.

•

Make a timeline on www.tiki-toki.com or a similar webpage on which you mark the action of "Hansel and Gretel".

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HANSEL AND GRETEL nag (vb) - nage

Once upon a time a very poor woodcutter lived in a tiny cottage in the forest

brat (subst) - møgunge

with his two children, Hansel and Gretel. His second wife often ill-treated the

a'bandon (vb) efterlade 'downcast (adj) nedslået

children and was forever nagging the woodcutter.

"There is not enough food in the house for us all. There are too many

pebble (subst) småsten

mouths to feed! We must get rid of the two brats," she declared. And she kept

sob (vb) - hulke

on trying to persuade her husband to abandon his children in the forest.

VWLÀH (vb) - undertrykke re'proach (vb) bebrejde diso'bey (vb) - nægte at adlyde 'quarrel (vb) - skændes

5

"Take them miles from home, so far that they can never ¿nd their way back! Maybe someone will ¿nd them and give them a home." The downcast woodcutter didn't know what to do. Hansel who, one evening, had overheard his parents' conversation, comforted Gretel. "'on't worry! If they do leave us in the forest, we'll ¿nd the way home,"

10

he said. And slipping out of the house he ¿lled his pockets with little white pebbles, then went back to bed. All night long, the woodcutter's wife harped on and on at her husband till, at dawn, he led Hansel and Gretel away into the forest. But as they went into the depths of the trees, Hansel dropped a little white pebble here and there on the mossy green ground. At a certain point,

15

the two children found they really were alone: the woodcutter had plucked up enough courage to desert them, had mumbled an excuse and was gone.

Night fell but the woodcutter did not return. Gretel began to sob bitterly.

Hansel too felt scared but he tried to hide his feelings and comfort his sister. "'on't cry, trust me! I swear I'll take you home even if Father doesn't

20

come back for us!" Luckily the moon was full that night and Hansel waited till its cold light ¿ltered through the trees.

"Now give me your hand!" he said. "We'll get home safely, you'll see!"

The tiny white pebbles gleamed in the moonlight, and the children found their way home. They crept through a half open window, without wakening their

25

parents. Cold, tired but thankful to be home again, they slipped into bed.

Next day, when their stepmother discovered that Hansel and Gretel had returned, she went into a rage. StiÀing her anger in front of the children, she locked her bedroom door, reproaching her husband for failing to carry out her orders. The weak woodcutter protested, torn as he was between shame

30

and fear of disobeying his cruel wife. The wicked stepmother kept Hansel and Gretel under lock and key all day with nothing for supper but a sip of water and some hard bread. All night, husband and wife quarreled, and when dawn came, the woodcutter led the children out into the forest.

Hansel, however, had not eaten his bread, and as he walked through the 40

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trees, he left a trail of crumbs behind him to mark the way. But the little boy had forgotten about the hungry birds that lived in the forest. When they saw him, they Àew along behind and in no time at all, had eaten all the crumbs.

Again, with a lame excuse, the woodcutter left his two children by themselves.

"I've left a trail, like last time!" Hansel whispered to Gretel, consolingly.

5

But when night fell, they saw to their horror, that all the crumbs had gone.

con'solingly (adv) trøstende shiver (vb) - skælve huddle (vb) - krybe sammen glade (subst)- lysning 'icing (subst) - glasur munch (vb) - gumle på 'crafty (adj) - snedig

"I'm frightened!" wept Gretel bitterly. "I'm cold and hungry and I want to go home!" "'on't be afraid. I'm here to look after you!" Hansel tried to encourage 10

his sister, but he too shivered when he glimpsed frightening shadows and evil eyes around them in the darkness. All night the two children huddled together for warmth at the foot of a large tree.

When dawn broke, they started to wander about the forest, seeking a path, but all hope soon faded. They were well and truly lost. On they walked

15

and walked, till suddenly they came upon a strange cottage in the middle of a glade.

"This is chocolate!" gasped Hansel as he broke a lump of plaster from the wall.

"And this is icing!" exclaimed Gretel, putting another piece of wall in

20

her mouth. Starving but delighted, the children began to eat pieces of candy broken ŏ the cottage.

Isn't this delicious?" said Gretel, with her mouth full. She had never tasted anything so nice.

"We'll stay here," Hansel declared, munching a bit of nougat. They were

25

just about to try a piece of the biscuit door when it quietly swung open.

"Well, well!" said an old woman, peering out with a crafty look. "And haven't you children a sweet tooth?"

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un'wary (adj) uforsigtig

"Come in! Come in, you've nothing to fear!" went on the old woman.

'grimly (adv) - dystert

Unluckily for Hansel and Gretel, however, the sugar candy cottage belonged

plump (adj) - buttet

to an old witch, her trap for catching unwary victims. The two children had

'whimper (vb) - klynke tre'mendous (adj) enorm 'padlock (subst) hængelås 'cinder (subst) - slagge (rester fra forbrændt ăald)

come to a really nasty place.

"You're nothing but skin and bones!" said the witch, locking Hansel into

5

a cage. I shall fatten you up and eat you!"

"You can do the housework," she told Gretel grimly, "then I'll make a meal of you too!" As luck would have it, the witch had very bad eyesight, an when Gretel smeared butter on her glasses, she could see even less.

"Let me feel your ¿nger!" said the witch to Hansel every day to check

10

if he was getting any fatter. Now, Gretel had brought her brother a chicken bone, and when the witch went to touch his ¿nger, Hansel held out the bone.

"You're still much too thin!" she complained. When will you become plump?" One day the witch grew tired of waiting.

"Light the oven," she told Gretel. "We're going to have a tasty roasted

15

boy today!" A little later, hungry and impatient, she went on: "Run and see if the oven is hot enough." Gretel returned, whimpering: "I can't tell if it is hot enough or not." Angrily, the witch screamed at the little girl: "Useless child!

All right, I'll see for myself." But when the witch bent down to peer inside the oven and check the heat, Gretel gave her a tremendous push and slammed the

20

oven door shut. The witch had come to a ¿t and proper end. Gretel ran to set her brother free and they made quite sure that the oven door was tightly shut behind the witch. Indeed, just to be on the safe side, they fastened it ¿rmly with a large padlock. Then they stayed for several days to eat some more of the house, till they discovered amongst the witch's belongings, a huge chocolate

25

egg. Inside lay a casket of gold coins.

"The witch is now burnt to a cinder," said Hansel, "so we'll take this treasure with us." They ¿lled a large basket with food and set ŏ into the forest to search for the way home. This time, luck was with them, and on the second day, they saw their father come out of the house towards them,

30

weeping.

"Your stepmother is dead. Come home with me now, my dear children!"

The two children hugged the woodcutter. "Promise you'll never ever desert us again," said Gretel, throwing her arms round her father's neck. Hansel opened the casket. "Look, Father! We're rich now . . . You'll never have to chop wood again."

And they all lived happily together ever after. (year unknown) 42

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POST-READING •

Be prepared to discuss your choice of genre with your classmates, offering your examples from your group work.

•

A few groups are chosen to present their timelines to the rest of the class. You can use the Fruitmachine from www.classtools.com to draw lots.

GET BACK IN YOUR READING GROUPS

•

Use your work from the reading instructions to prepare a retelling of "Hansel and Gretel".

You may not use the text itself but only your notes. Get ready to share your retelling with another group and please note that when you join the other group, you can no longer use your notes - you may solely depend on your recollection of the story. All members of the group must take part in the retelling of the story. You have 10 minutes to prepare your version of "Hansel and Gretel".

•

Find a group to partner up with and decide which group should share their retelling first.

After the first retelling, make a list of three things that you, in hindsight, remember from the original, but forgot in your oral version. All six members of the group assist remembering three further details.

•

The second group then offers their version of the story. Afterwards, discuss if their version was more detailed or not.

•

Discuss what happens when you try to retell a story. Does it sound exactly the same in the retold version? On the basis of your discussion, make at least five written sentences to bring to class. Your sentences must include the words "oral tradition", "change", "adjustment", "version" and "original". Preferably, you should make a sentence with each word, but this is not obligatory. Hence, you are allowed to use more than one of the words in each sentence.

•

All groups write their five sentences on the board, and in class you discuss these sentences.

•

After this, you can use the sentences for a grammatical exercise in which you underline and mark the different word classes.

•

You can expand the exercise and create a competition in which you inflect the verbs. The rules are as follow: Get together in groups of three and locate as many verbs as possible.

When you have found the verbs, inflect them into as many tenses as possible. The competition runs for five minutes and you have to inflect as many verbs as possible during those five minutes. The group with the highest number of correctly inflected verbs wins the competition.

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Inaugural Address

by President Barack Obama

Ice-breaker In groups of three, your task is to create your very own word class poem. Below, you see a model of a poem. However, this model only shows you word classes, forms and tenses.

Your task is to exchange the word classes with real words in the right form and tense and thereby make the poem mean something.

Use your knowledge about word classes and come up with a beautiful poem.

You can use "a", "an" and "the" as much a you like, but otherwise you have to stick to the word class you are given in the model.

Substantiv i genitiv Substantiv i genitiv Præpæsition, substantiv i genitiv, adjektiv, substantiv Verbum, substantiv, verbum, substantiv, præposition, substantiv i genitiv, adjektiv, substantiv.

Substantiv, verbum, præposition, substantiv, konjunktion, adjektiv, substantiv Substantiv i genitiv, adjektiv, adjektiv, verbum, substantiv, præposition, adjektiv, substantiv

Your poem is to be read aloud in class.

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'oublespeak The oral tradition is very much alive today. As long as there is language, we will Âżnd new ways of expressing ourselves. We tell bedtime stories to children, we pass on gossip at school, and we use our language to persuade other people when we want to win them over in an argument. You might say that our language and the way we express ourselves has quite a lot to say in today's society.

Politicians know this too. Today, politicians have to weigh their words like never before, and from this, a new way of speaking has risen. This is called doublespeak, and in its original form it was presented in George Orwell's novel Nineteen Eighty-Four, which was published in 1949. In Nineteen Eighty-Four, doublespeak is a way for the politicians to limit all concepts of individuality that are a threat to the state, such as the right to express oneself.

The doublespeak we will be working with here is not the complete dominance of the state that Orwell introduces, but more a way for politicians to win us over in matters that can be di̇cult for us to cope with. 'oublespeak is a way to make tough decisions look acceptable. By re-naming terms towards which people are skeptical, they will automatically be easier to handle.

PRE-READING •

•

Discuss the difference between the following pairs of words: collateral damage

vs.

unintended murder

pro-choice

vs.

for abortion

down-sizing a company

vs.

ďŹ ring employees

person of interest

vs.

a suspect

to terminate

vs.

to kill

Make three pairs of your own that illustrate doublespeak.

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•

Go to www.lru.dk/openwide and watch the clip "Obama tax doublespeak". Discuss with your teacher why Obama uses doublespeak instead of stating his opinion directly.

•

Make two lists on the board. One where you write the positive things about doublespeak, and one where you write the negative things about doublespeak.

•

Discuss with your teacher why doublespeak is becoming a device increasingly used by politicians.

Using doublespeak is not the only rhetorical device a politician can resort to when trying to win over the listeners. There are various tools that can be put into action.

Take a look at the list below.

Rhetorical devices

Alliteration: words in a row - or words placed closely together - beginning with the same consonant. Alliterations add Àuency to the text and work especially well when they are used in speeches: "The sweet smell of success" Anaphora: when one or more words are repeated in the beginning of several succeeding sentences. It is one of the oldest literary devices dating all the way back to the biblical psalms. Here is an example from Shakespeare's Richard II: "This blessed plot, this earth, this realm, this England, This nurse, this teeming womb of royal kings [. . .]

This land of such dear souls, this dear dear land," Antithesis: means putting two opposites together to show the contrast between them clearly: "Setting foot on the moon may be a small step for a man but a giant step for mankind."

Assonance: repetition of a vowel sound to create internal rhymes within the sentence: "Fleet feet sweep by sleeping geese".

Similes: creates an image by comparing one thing to another using the word "as" or "like": "My father is like a superhero". Be aware of the dĭerence between similes and metaphors.

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Inclusive language: by using the pronouns "we", "us" and "my fellow (Americans)", you include the listeners and make them feel as if they are a part of what you are talking about.

We call this technique "inclusive language."

"On the morning of September the 11th, 2001, our nation awoke to a nightmare attack. Nineteen men armed with box cutters took control of airplanes and turned them into missiles. They used them to kill nearly 3,000 innocent people. We watched the twin towers collapse before our eyes, and it became instantly clear that we'd entered a new world and a dangerous new war." ( President Bush's Speech on Terrorism, 2006) Metaphor: an image created by a word with a concrete meaning, but used in a ¿gurative manner: "My girlfriend is a rose".

You can also create a chain of metaphors. The example stated below is a chain of travel metaphors. Here is an example from Barack Obama's victory speech: "The road ahead will be long. Our climb will be steep. We may not get there in one year or even one term, but America – I have never been more hopeful than I am tonight that we will get there. I promise you – we as a people will get there.

There will be setbacks and false start."

Metonymy: stand-in for other words. You have to understand the context of the replaced word in order to understand the metonymy: :H ZLOO KHDU IURP 7KH 2YDO 2̇FH VRRQ In this example, it is crucial that you know who The Oval Ȯce belongs to - The President of The United States - otherwise the sentence does not make sense to you.

3HUVRQL¿FDWLRQ: portraying something abstract or inanimate with human features: "The stars winked at her from the skies".

Repetition: When you repeat one or more words, it strengthens your message because the repeated word are easier to remember.

"Yes, we can, to opportunity and prosperity. Yes, we can heal this nation. Yes, we can repair this world. Yes, we can." (From: Obama's New Hampshire Primary Concession Speech, 2008) Set them up and knock them down: a trick used especially by politicians to show that they fully understand the position of the opponent but simply disagree. It is a powerful trick because it makes it clear that you know your opponent's stand and at the same time

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it states that you are smarter than him or her. Here is an example from Margareth Thatcher: "For the unspoken assumption behind policies of withdrawal from the Community and unilateral disarmament is that others will continue to bear their burdens and pick up ours as well. Others would continue to accept our products, even though we refused to accept theirs, that others would continue to ensure the defence of Europe and provide a shield behind which we would shelter. What a contemptible policy for Britain."

The list of three: a commonly used repetition strategy. It adds rhythm to the speech when three things are listed right after each other. " [1]

It means to try to tell your kids everything you thought you'd have the next 10 years to tell them in just a few months.

[2]

It means to make sure everything is buttoned up so that it will be as easy as possible for your family.

[3]

It means to say your goodbyes".

(Steve Jobs: Stanford Commencement Address, 2005)

•

Study the list of terms and make two examples of your own for each term.

•

Make your own flashcards where you write the term on one side of the card and the explanation on the other side of the card. You can also make the flashcards online on www.quizlet.com.

•

Compete against each other using either the online or physical version of the cards.

The rules are as follow: One person draws a term from the pile/clicks on it online and has to explain the term. If s/he fails, the card moves on to the next player. You win the terms you can explain.

•

In the second round, you place the cards back in the pile and again you take turns drawing from the pile/clicking on the cards. This time, you must both explain the term and give an example of your own. You cannot use the examples you have made together.

•

In the third round, take turns drawing from the pile/clicking on the cards, but in this round, you have to keep the term secret. You get a point in this round, if you can explain the term to the person sitting to your right. You cannot use the word directly. If your partner guesses the term, you both get a point.

•

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When all three rounds are finished, add the scores from all three rounds and declare a winner.

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READING INSTRUCTIONS •

Read the entire speech to yourself once.

•

Mark three places in the text you found particularly noticeable while reading. Bring these to class.

•

Write down three keywords you think sum up the speech.

•

Make these three keywords into three sentences that, in your opinion, explain President Obama's intentions behind the speech.

INAUGURAL ADDRESS BY PRESIDENT BARACK OBAMA UNITED STATES CAPITOL THE PRESI'ENT: Vice President Biden, Mr. Chief Justice, members of the United States Congress, distinguished guests, and fellow citizens: Each time we gather to inaugurate a President we bear witness to 5

in'augurate (vb) indsætte

the enduring strength of our Constitution. We ȧrm the promise of our

'tenet (subst) grundprincip

democracy. We recall that what binds this nation together is not the colors

al'legiance (subst) troskab

of our skin or the tenets of our faith or the origins of our names.What makes

ar'ticulate (vb) formulere

us exceptional - what makes us American - is our allegiance to an idea

en'dow (vb) - (her) religiøst tillægge

articulated in a declaration made more than two centuries ago: "We hold these truths to be self-evident, that all men are created equal; 10

dis'tinguished (adj) ærede

that they are endowed by their Creator with certain unalienable rights; that among these are life, liberty, and the pursuit of happiness."

Today we continue a never-ending journey to bridge the meaning of those words with the realities of our time. For history tells us that while

un'alienable (adj) umistelig 'self-'executing (adj) selv-udøvende creed (subst) - tro lash (subst) - pisk a'new (adv) - på ny 'commerce (subst) handel

these truths may be self-evident, they've never been self-executing; that 15

while freedom is a gift from God, it must be secured by His people here on Earth. The patriots of 1776 did not ¿ght to replace the tyranny of a king with the privileges of a few or the rule of a mob. They gave to us a republic, a government of, and by, and for the people, entrusting each generation to keep safe our founding creed.

20

And for more than two hundred years, we have.

Through blood drawn by lash and blood drawn by sword, we learned that no union founded on the principles of liberty and equality could survive half-slave and half-free. We made ourselves anew, and vowed to move forward together.

25

Together, we determined that a modern economy requires railroads and highways to speed travel and commerce, schools and colleges to train our workers.

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'hazard (subst) - fare re'linquish (vb) opgive suc'cumb (vb) - bukke under ¿ GHOLW\ (subst) troskab 'musket (subst) - bøsse (våben) steel (vb) - hærde

Together, we discovered that a free market only thrives when there are rules to ensure competition and fair play.

Together, we resolved that a great nation must care for the vulnerable, and protect its people from life's worst hazards and misfortune.

Through it all, we have never relinquished our skepticism of central authority, nor have we succumbed to the ¿ction that all society's ills can

bleak (adj) - trøstesløs

be cured through government alone. Our celebration of initiative and

'outworn (adj) - slidt op

enterprise, our insistence on hard work and personal responsibility, these

in'adequate (adj) utilstrækkelig

5

are constants in our character.

But we have always understood that when times change, so must

10

we; that ¿delity to our founding principles requires new responses to new challenges; that preserving our individual freedoms ultimately requires collective action. For the American people can no more meet the demands of today's world by acting alone than American soldiers could have met the forces of fascism or communism with muskets and militias. No single

15

person can train all the math and science teachers we'll need to equip our children for the future, or build the roads and networks and research labs that will bring new jobs and businesses to our shores. Now, more than ever, we must do these things together, as one nation and one people.

This generation of Americans has been tested by crises that steeled

20

our resolve and proved our resilience. A decade of war is now ending. An economic recovery has begun. America's possibilities are limitless, for we possess all the qualities that this world without boundaries demands:youth and drive; diversity and openness; an endless capacity for risk and a gift for reinvention. My fellow Americans, we are made for this moment, and we

25

will seize it - so long as we seize it together.

For we, the people, understand that our country cannot succeed when a shrinking few do very well and a growing many barely make it. We believe that America's prosperity must rest upon the broad shoulders of a rising middle class. We know that America thrives when every person can ¿nd

30

independence and pride in their work; when the wages of honest labor liberate families from the brink of hardship. We are true to our creed when a little girl born into the bleakest poverty knows that she has the same chance to succeed as anybody else, because she is an American; she is free, and she is equal, not just in the eyes of God but also in our own.

We understand that outworn programs are inadequate to the needs of our time. So we must harness new ideas and technology to remake our

50

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CHAPTER 1 - OPEN UP

government, revamp our tax code, reform our schools, and empower our

re'vamp (vb) - reformere

citizens with the skills they need to work harder, learn more, reach higher.

'dignity (subst) værdighed

But while the means will change, our purpose endures:a nation that rewards

GH¿FLW (subst) underskud

the ĕort and determination of every single American. That is what this 5

moment requires. That is what will give real meaning to our creed.

We, the people, still believe that every citizen deserves a basic measure of security and dignity. We must make the hard choices to reduce the cost of health care and the size of our de¿cit. But we reject the belief that America must choose between caring for the generation that built this country and

10

investing in the generation that will build its future.For we remember the lessons of our past, when twilight years were spent in poverty and parents of

obli'gation (subst) forpligtelse post'erity (subst) eftertiden 'devastating (adj) altødelæggende drought (subst) - tørke sus'tainable (adj) vedvarende cede (vb) - afstå per'petual (adj) - evig sear (vb) - brænde

a child with a disability had nowhere to turn.

We do not believe that in this country freedom is reserved for the lucky, or happiness for the few. We recognize that no matter how responsibly we 15

live our lives, any one of us at any time may face a job loss, or a sudden illness, or a home swept away in a terrible storm. The commitments we make to each other through Medicare and Medicaid and Social Security, these things do not sap our initiative, they strengthen us. They do not make us a nation of takers; they free us to take the risks that make this country

20

great.

We, the people, still believe that our obligations as Americans are not just to ourselves, but to all posterity. We will respond to the threat of climate change, knowing that the failure to do so would betray our children and future generations.Some may still deny the overwhelming judgment

25

of science, but none can avoid the devastating impact of raging ¿res and crippling drought and more powerful storms.

The path towards sustainable energy sources will be long- and sometimes di̇cult.But America cannot resist this transition, we must lead it.We cannot cede to other nations the technology that will power new jobs

30

and new industries, we must claim its promise. That's how we will maintain our economic vitality and our national treasure - our forests and waterways, our crop lands and snow-capped peaks. That is how we will preserve our planet, commanded to our care by God. That's what will lend meaning to the creed our fathers once declared.

35

We, the people, still believe that enduring security and lasting peace do not require perpetual war.Our brave men and women in uniform, tempered by the Àames of battle, are unmatched in skill and courage. Our citizens,

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stake (subst) - (her) interesse 'dignity (subst) værdighed 'forebears (subst) forfædre inex'tricably (adv) uløseligt 'striving (adj) - stræbsom en'list (vb) - indrulle

seared by the memory of those we have lost, know too well the price that is paid for liberty.T he knowledge of their sacri¿ce will keep us forever vigilant against those who would do us harm. But we are also heirs to those who won the peace and not just the war; who turned sworn enemies into the surest of friends - and we must carry those lessons into this time as well.

5

We will defend our people and uphold our values through strength of arms and rule of law. We will show the courage to try and resolve our dĭerences with other nations peacefully – not because we are nawve about the dangers we face, but because engagement can more durably lift suspicion and fear.

10

America will remain the anchor of strong alliances in every corner of the globe. And we will renew those institutions that extend our capacity to manage crisis abroad, for no one has a greater stake in a peaceful world than its most powerful nation. We will support democracy from Asia to Africa, from the Americas to the Middle East, because our interests and

15

our conscience compel us to act on behalf of those who long for freedom.

And we must be a source of hope to the poor, the sick, the marginalized, the victims of prejudice – not out of mere charity, but because peace in our time requires the constant advance of those principles that our common creed describes:tolerance and opportunity, human dignity and justice.

20

We, the people, declare today that the most evident of truths – that all of us are created equal – is the star that guides us still; just as it guided our forebears through Seneca Falls, and Selma, and Stonewall; just as it guided all those men and women, sung and unsung, who left footprints along this great Mall, to hear a preacher say that we cannot walk alone; to hear a King

25

proclaim that our individual freedom is inextricably bound to the freedom of every soul on Earth.

It is now our generation's task to carry on what those pioneers began.

For our journey is not complete until our wives, our mothers and daughters can earn a living equal to their ĕorts. Our journey is not complete until

30

our gay brothers and sisters are treated like anyone else under the law for if we are truly created equal, then surely the love we commit to one another must be equal as well. Our journey is not complete until no citizen is forced to wait for hours to exercise the right to vote. Our journey is not complete until we ¿nd a better way to welcome the striving, hopeful immigrants who still see America as a land of opportunity until bright young students and engineers are enlisted in our workforce rather than expelled from our country. Our journey is not complete until all our children, from the streets 52

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of 'etroit to the hills of Appalachia, to the quiet lanes of Newtown, know that they are cared for and cherished and always safe from harm.

That is our generation's task - to make these words, these rights, these values of life and liberty and the pursuit of happiness real for every 5

American. Being true to our founding documents does not require us to

con'tour (subst) omrids con'fer (vb) - skænke ledge (subst) højtideligt løfte 'solemn (adj) højtidelig

agree on every contour of life. It does not mean we all de¿ne liberty in exactly the same way or follow the same precise path to happiness. Progress does not compel us to settle centuries-long debates about the role of government for all time, but it does require us to act in our time.

10

For now decisions are upon us and we cannot ăord delay. We cannot mistake absolutism for principle, or substitute spectacle for politics, or treat name-calling as reasoned debate. We must act, knowing that our work will be imperfect. We must act, knowing that today's victories will be only partial and that it will be up to those who stand here in four years and 40 years

15

and 400 years hence to advance the timeless spirit once conferred to us in a spare Philadelphia hall.

My fellow Americans, the oath I have sworn before you today, like the one recited by others who serve in this Capitol, was an oath to God and country, not party or faction. And we must faithfully execute that pledge

20

during the duration of our service. But the words I spoke today are not so dĭerent from the oath that is taken each time a soldier signs up for duty or an immigrant realizes her dream. My oath is not so dĭerent from the pledge we all make to the Àag that waves above and that ¿lls our hearts with pride.

They are the words of citizens and they represent our greatest hope. You

25

and I, as citizens, have the power to set this country's course. You and I, as citizens, have the obligation to shape the debates of our time - not only with the votes we cast, but with the voices we lift in defense of our most ancient values and enduring ideals.

Let us, each of us, now embrace with solemn duty and awesome joy

30

what is our lasting birthright. With common ĕort and common purpose, with passion and dedication, let us answer the call of history and carry into an uncertain future that precious light of freedom.

Thank you. God bless you, and may He forever bless these United States of America.

(2013)

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POST-READING •

Watch President Obama's inaugural address on www.youtube.com. (Type "Obama inauguration 2013" into the search field).

•

Notice the places you marked as particularly interesting in your reading of the speech.

4 How does Obama use his voice in those places?

4 Does he use rhetorical devices to underline his points in the sections you have chosen?

4 If so, how do they affect you?

•

Discuss in class if you think President Obama is a good speaker. You must comment on the following things: 4 his way of using his voice 4 his way of looking at the audience 4 how he uses rhetorical devices 4 how the audience reacts and why

•

Compare notes from your reading instructions. Do you agree on the main issues in the text?

•

How are your keywords represented in the oral version of the speech? Are they still relevant or must they be changed after hearing the speech? Why do you think that is?

•

Make a joint list of three keywords that sum up the speech.

•

Walk around the classroom asking at least three of your classmates what their keywords are and why. You may only talk to classmates with the same hair color as yourself.

•

End with a quick written reflection in which you speedwrite for two minutes on the subject "What makes a good speaker?"Your teacher chooses which three randomly chosen speedwritings should be read aloud in class.

•

Pick up the discussion in class and add the question: Are you still as afraid of speaking in class as when you first began this theme?

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Obama's Remarks in Aurora, Colorado

Ice-breaker 3 min

Find a partner with whom you do not usually sit, work or hang out. Take a few minutes to brainstorm collaboratively on life changing events. Come up with a couple of good things that are life changing for most human beings and also a few bad ones that change our lives.

Tell your partner about one real event that has changed your life for the better or the worse. You each have three minutes of talking-time.

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Pathos, logos and ethos

When writing a speech, rhetorical devices are not the only things a speaker has to consider. In order to target his/her audience properly, s/he has to think about the context in which the speech is given and the way s/he presents him/herself. To fully understand these correlations, it is crucial to look at the modes of persuasion used in the speech.

The modes of persuation are categorized in the following three terms: pathos, logos and ethos.

PATHOS

LOGOS

ETHOS

Appealing to pathos means

Logos appeals are used when

Ethos has to do with the

appealing to the emotions of

the speaker wants to address

credibility of the speaker.

the audience. It can be very

common sense in the audience.

People you trust in advance

powerful to appeal to someone's

You appeal to reason by drawing

automatically have ethos. If

feelings, and it is therefore

in statistics and historical

a professor in physics lectures

commonly used in political

facts to help substantiate your

you about electromagnetism,

speeches. Pathos is often used

claims. Logos is powerful

you automatically assume

to create images in the minds

when the speaker has a broad

he knows what he is talking

of the listeners to help them

knowledge about the topic in

about. He automatically has

picture the situation in question.

question and can answer factual

ethos because of his title, and

For instance, you can talk about

questions without hesitation.

you trust that he can teach you

starving children to make your

Logos is strong when you want

about the subject. Other people

listeners feel pity. Pathos is

to convince people that might

have to earn their ethos, and

particularly powerful when

otherwise disagree with you. The

this has to be established in

the audience agrees with the

danger of logos is sounding too

the beginning of the speech in

premise the speaker is trying

boring, and you will lose your

order for the audience to trust

to convey. If it is a rough crowd

audience if you only appeal to

the speaker. Ethos is secured

that does not feel pity when

their common sense.

by being wise, conÂżdent about

hearing about starving children,

the subject and showing good

the speaker has to resort to

morals.

another mode of persuasion.

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PRE-READING •

Turn to page 100 in the chapter "Twisted Minds" and skim through the article "Gunman Kills 12 in Colorado, Reviving Gun Debate". Discuss with your partner what happened in the theatre.

4 Did you know about the shooting before reading about it?

4 Which mode(s) of persuasion would you use if you had to prepare a speech about the shooting?

•

Look at the images of President Barack Obama on page 55 and discuss the following questions: 4 Which emotions would you say he is portraying in the image?

4 Does it matter how a person looks when trying to convince someone of something?

4 Do you find President Obama trustworthy?

4 Which mode of persuasion would you say he is aiming for and why?

READING INSTRUCTIONS •

As you read the speech made by President Obama following the Aurora massacre, you are to consider his modes of persuasion. Write down a few keywords to each of the following questions and be prepared to use your answers in class.

4 In the beginning of the speech, Obama offers his thanks to a lot of people. Why does he do this?

4 Comment on the President citing the Bible. What is the purpose of including religion in the speech?

4 The President uses himself and his own family as reference. What is the effect of including his own personality?

4 He mentions that he has visited families that were affected by the shooting. Why did he visit those families, and how does it affect his speech that he brings it up?

4 Comment on Allie's story. What makes her story worth mentioning in detail? Which emotions does it appeal to?

4 Notice his usage of contrasts in the final paragraph. Which emotions is Obama trying to evoke in the audience by using these contrasts?

4 Look at the image on page 55 again. Do you think that the President's facial expression matches the modes of appeal he uses in his speech?

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OBAMA'S REMARKS IN AURORA, COLORADO PDJ QL¿FHQWO\ (adv) strålende 'scripture (subst) hellig skrift 'fashion (subst) - (her) måde

THE PRESI'ENT: Good afternoon, everybody. I want to begin by just thanking all the state, local, and federal ȯcials who have responded magni¿cently to this tragedy.

Governor Hickenlooper, who has already been dealing with a range

in'adequate (adj) utildtrækkelig

of natural disasters here in the state, has been an extraordinary example

'perpetrator (subst) gerningsmand

of strength. The Mayor, who has only been on the job seven months, and

5

obviously has responded with great strength and leadership. The Police Chief, who — we had an opportunity to speak over the phone — Chief Oates has been dealing with as di̇cult a set of circumstances as any law enforcement ȯcer deals with, and he and his ȯcers have done everything

10

right, by the book, with great courage and great determination. And so we are very proud of them. And I think I speak for the entire congressional delegation who is here as well.

Scripture says that "He will wipe away every tear from their eyes, and death shall be no more. Neither shall there be mourning, nor crying, nor

15

pain anymore, for the former things have passed away." And when you have an opportunity to visit with families who have lost their loved ones — as I described to them, I come to them not so much as President as I do as a father and as a husband. And I think that the reason stories like this have such an impact on us is because we can all understand what it would be to

20

have somebody that we love taken from us in this fashion — what it would be like and how it would impact us.

I had a chance to visit with each family, and most of the conversation was ¿lled with memory. It was an opportunity for families to describe how wonderful their brother, or their son, or daughter was, and the lives that

25

they have touched, and the dreams that they held for the future. I confessed to them that words are always inadequate in these kinds of situations, but that my main task was to serve as a representative of the entire country and let them know that we are thinking about them at this moment and will continue to think about them each and every day, and that the awareness

30

that not only all of America but much of the world is thinking about them might serve as some comfort.

I also tried to assure them that although the perpetrator of this evil act has received a lot of attention over the last couple of days, that attention will fade away. And in the end, after he has felt the full force of our justice

58

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system, what will be remembered are the good people who were impacted by

re'silient (adj) - robust

this tragedy.

'canister (subst) cylinder

And I also had a chance to give folks some hugs and to shed some tears,

spurt (vb) - sprøjte

but also to share some laughs as they remembered the wonderful lives that 5

these men and women represented.

I also had a chance, fortunately, to visit some folks who are going to be okay, thanks to the extraordinary ĕorts of the stă at this hospital. And I just want to thank everybody who's worked tirelessly here to deal with this tragedy.

10

Some of the stories are remarkable. You see young people who've come in and just two days ago, or 36 hours ago, or even 24 hours ago, it wasn't certain whether they'd make it. And now suddenly, their eyes are open, they're alert and they're talking. And it reminds you that even in the darkest of days, life continues, and people are strong and people bounce back and

15

people are resilient. And particularly, given the fact that so many of the victims were young, it is a great blessing to see how rapidly they're able to recover from some pretty devastating injuries.

There's one particular story I want to tell because this was the last visit that I had and I think it's representative of everything that I saw and heard

20

today. I had a chance, just now, about ¿ve minutes ago, to visit with Allie Young — Allie is 19 years old — and I also had a chance to visit with Allie's best friend, Stephanie 'avies, who's 21. Stephanie was actually downstairs with Allie as well as Allie's parents when I walked into the room.

And I don't think this story has been heard — at least I hadn't read it

25

yet — but I wanted to share it with you. When the gunman initially came in and threw the canisters, he threw them only a few feet away from Allie and Stephanie, who were sitting there watching the ¿lm. Allie stood up, seeing that she might need to do something or at least warn the other people who were there. And she was immediately shot. And she was shot in the neck,

30

and it punctured a vein, and immediately she started spurting blood.

And apparently, as she dropped down on the Àoor, Stephanie — 21 years old — had the presence of mind to drop down on the ground with her, pull her out of the aisle, place her ¿ngers over where she — where Allie had been wounded, and applied pressure the entire time while the gunman was

35

still shooting. Allie told Stephanie she needed to run. Stephanie refused to go — instead, actually, with her other hand, called 911 on her cell phone.

Once the SWAT team came in, they were still trying to clear the theater.

Stephanie then, with the help of several others, carries Allie across two OP E N W I D E

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'presence of mind (subst) - årvågenhed 'vigil (subst) - (natte) vågen at'tendance (subst) tilstedeværelse

parking lots to where the ambulance is waiting. And because of Stephanie's timely actions, I just had a conversation with Allie downstairs, and she is going to be ¿ne.

I don't know how many people at any age would have the presence of mind that Stephanie did, or the courage that Allie showed. And so, as tragic

5

as the circumstances of what we've seen today are, as heartbreaking as it is for the families, it's worth us spending most of our time reÀecting on young Americans like Allie and Stephanie, because they represent what's best in us, and they assure us that out of this darkness a brighter day is going to come.

To the entire community of Aurora, the country is thinking of you. I

10

know that there's going to be a vigil and an opportunity for everybody to come together. And I hope that all those who are in attendance understand that the entire country will be there in prayer and reÀection today.

So thank you. God bless you. God bless all who helped to respond to this tragedy. And I hope that over the next several days, next several weeks,

15

and next several months, we all reÀect on how we can do something about some of the senseless violence that ends up marring this country, but also reÀect on all the wonderful people who make this the greatest country on Earth.

Thank you very much, everybody.

(2012)

POST-READING •

On the basis of your answers from the reading instructions, discuss with your teacher and your classmates which is the most predominant mode of persuasion in Obama's speech.

4 Why do you think he uses this mode of persuasion the most?

4 Would you have made the same choice? Why or why not?

•

Write your own "Batman Shooting Speech".

4 Your speech is to take its starting point in the Batman Shooting. Imagine that you are the President and that you have to address the families left behind. Remember that you are also addressing the entire nation and the rest of the world with your speech.

Carefully consider your modes of persuasion when writing. Your speech is to be approx. 300 words.

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CHAPTER 1 - OPEN UP

4 When you are done writing your speech, elect a president who will give the speech in front of two other groups. The three group members that are not elected president will help the president practice facial expression and intonation before giving the speech.

•

Get together with two other groups and give your speeches to an audience that actively listens and applauds.

Your teacher divides the class into three groups. One group will represent ethos, one will represent pathos and the final group will represent logos. In your groups, you now have to reformulate Obama's remark and turn it completely into your mode of persuasion.

•

All groups have to discuss which parts from the original speech they find the most obvious to focus on in their rewriting of the speech. You do not have to use all elements from the original text in your new version.

•

When you have decided which parts to use, create a new version that is stripped of every mode of persuasion but your own.

•

Your new version has to be approx. 200 words.

MATRIX GROUPS

Form matrix groups consisting of one representative from each mode of persuasion.

•

In these matrix groups, take turns presenting the following: 4 Which elements did you choose to focus on from the original speech and why?

4 What was difficult about your mode of persuasion in rewriting the speech?

4 What was easy to transform?

4 Finally, give your new speeches.

•

Discuss how the speeches came out differently and why.

4 When is pathos the best mode of persuasion?

4 When is ethos the strongest one to use?

4 When is it good to focus on logos?

4 Is it possible to create a good speech focusing only on one mode of persuasion?

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SYNTHESIS &

•

Write a short summary in Danish of what this chapter has given you in terms of both removing your fear of speaking in public (if you had any) and in terms of your understanding of genre. Your summary should be approx. 150 words.

•

Swap summaries with a classmate you are comfortable with and translate each other's summaries. Choose one interesting sentence from your classmate's translation to discuss in class. (Something you find difficult to translate or just grammatically interesting.)

•

Finally, discuss the content of your summaries in English. You must comment on the following, if it is not already mentioned in your summaries: 4 Have the icebreakers and many oral exercises helped you with your fear of speaking in class?

4 Do you have an expanded vocabulary after having read about and worked with the different genres?

4 Which text do you remember the best?

4 Which text already feels distant?

4 Collaboratively, list the genres you have worked with throughout this chapter.

4 Discuss the differences between the texts that belong to the same genre.

•

Your teacher chooses a few of you to come to the board and write the interesting sentences from your pair work. Translate them together and discuss their content both in terms of grammar and meaning.

Play a game of speed dating. Form two lines and stand across from each other in the classroom.

For one minute, discuss the question your teacher reads aloud. When time is up, you move one space to your left. Your teacher will keep track of time using www.online-stopwatch.com or his/her own watch.

4 Which text from the theme was most appealing to you and why?

4 Mention as many rhetorical devices as possible and how they affect the audience.

4 Account for ethos, logos and pathos.

4 Summarise "The Death of the Short Story" and try to remember the genres that were represented in the short story.

4 What did working with "Hansel and Gretel" teach you?

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4 Why is fear of speaking in public on the top of the list in terms of people's dreads? See if you can remember arguments from the article: "Is Public Speaking Really That Scary?"

4 What makes "Three Soldiers' Voices" literature?

4 Discuss if Barack Obama is a good speaker.

4 In what ways have you improved your vocabulary throughout this theme?

4 How can you continue working with your fear of speaking publically?

CREATIVE TASKS IN SEVEN GROUPS •

Form groups of the same size and assign each group a text from this chapter. In your groups, create a presentation for your classmates to keep that will help you remember the texts and vocabulary from this theme.

NOTE: Your presentation is to be recorded on a camera on your phone (or another camera) and shown in class. Therefore, you must work on your presentation skills since you can retake the recording as many times as you like.

Your presentation is to contain: 4 a summary of the text, you are working with 4 an introduction to the genre your text belongs to 4 a presentation of the terms and vocabulary relevant for your text 4 a creative element that will help you remember the text and terms better (e.g. performing Hansel and Gretel as a ballet, arguing with your opponent about fears, playing soldiers in combat etc.)

•

Save your video presentation on a shared class platform.

SUGGESTED WRITTEN ASSIGNMENT •

Write a speech entitled "How I Overcame My Fear of Speaking in Public". Your speech is to contain as many rhetorical devices as possible, and of course, you should consider your use of ethos, logos and pathos. Your speech has a limit of 400-500 words. Feel free to include texts, tasks and assignments from this topic serving as examples of how you overcame your fear.

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Open Wide er en grundbog og en indføring til engelskfaget i gymnasieskolen.

I ¿re kapitler med ¿re 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. 'erudover 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.

•

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. 'ette 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.

ISBN 9788770666060

www.lru.dk