TRACTION BLUE ENGELSKA 5 Elevpaket – Digitalt + Tryckt
LÄS OCH PROVA ELEVPAKETETS SAMTLIGA DELAR
TRACTION BLUE ENGELSKA 5 Elevpaket – Digitalt + Tryckt Traction Blue för Engelska 5 är ett tydligt läromedel som är lätt att följa, avsett främst för högskoleförberedande program. Läromedlets kapitel är uppbyggda på samma sätt med en liknande struktur i varje. Engagerade texter av olika slag följs av ett rikligt övningsmaterial, som tränar eleverna i läsförståelse och lägger särskild vikt vid deras kommunikativa och resonerande förmågor.
ELEVBOK Traction Blue är uppbyggt för att hjälpa eleven att självständigt utveckla sitt språk. I avsnittet English Handbook finns råd och vägledning för hur eleverna kan utveckla sitt eget läsande, skrivande, talande och lyssnande.
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TRACTION Blue
Engelska 5 Cecilia Stern Frisenfelds Ann-Christin Santiago Pettersson
Studentlitteratur AB Box 141 221 00 LUND Besöksadress: Åkergränden 1 Telefon 046-31 20 00 studentlitteratur.se
Kopieringsförbud Detta verk är skyddat av upphovsrättslagen. Kopiering, utöver lärares begränsade rätt att kopiera för undervisningsändamål enligt Bonus Copyright Access skolkopieringsavtal, är förbjuden. För information om avtalet hänvisas till utbildningsanordnarens huvudman eller Bonus Copyright Access. Vid utgivning av detta verk som e-bok, är e-boken kopieringsskyddad. Den som bryter mot lagen om upphovsrätt kan åtalas av allmän åklagare och dömas till böter eller fängelse i upp till två år samt bli skyldig att erlägga ersättning till upphovsman eller rättsinnehavare. Studentlitteratur har både digital och traditionell bokutgivning. Studentlitteraturs trycksaker är miljöanpassade, både när det gäller papper och tryckprocess. Redaktion: Per Lindsjö Formgivning: Sten Melin Grafisk Form Omslag: Sten Melin Grafisk Form Art.nr 39522 ISBN 978-91-44-11999-1 © Författaren och Studentlitteratur AB 2019 Upplaga 1:1 Printed by Interak, Poland 2019
Welcome to Traction Blue! Traction Blue will help you improve your English in a number of ways and it also provides the materials you need to meet the requirements for the English 5 course. The digital material includes everything that you see in this book – and more. With Traction Blue you can work with book, pen and paper, or completely digitally. For instance, you can listen to all the recorded texts on your computer, tablet or mobile phone, and you can also practise your English with all the interactive exercises and get instant feedback. The units of Traction Blue follow the same structure and cover a wide range of topics and text genres. In every unit there are both longer and shorter texts, such as articles and factual texts together with extracts from novels or biographies, as well as at least one listening exercise. At the end of each unit there is a text that represents a specific genre, including a poem, an article, a popular science article, an extract from a dystopic novel, a speech and a movie review. In unit 5 all the different texts are examples of different genres. In English Handbook you will find a guide to working on the language skills of writing, speaking, reading and listening. It is a resource book to help you when you need support. In it you can learn about the writing process, formal and informal language, prepared speech, strategies for reading and listening and more. In short, Traction Blue covers much of what you need to develop your language skills and complete the English 5 course successfully. We hope that you will find it fun and inspiring to work with. Best of luck with your studies! The Traction Blue team
Contents 1 IDENTITY 5 So Yesterday 6 You Are What You Like 10 Ready Player One 14 Listening: Ready Player One cont. 19 Listening: Who Am I If You’re Not You 21 Genre: Theme for English B 22
5 GENRES 79 Shakespeare’s Star Wars 80 Shakespeare – Forever There and Not There 85
2 EXTREMES 25 Glad You Brought It Up 26 Desert Challenge 29 Don’t Try This At Home 32 Work Hard, Be Kind 35 Listening: Ain’t No Cure for Love 40 Genre: Language Mix in the Extreme 41
6 WHAT’S OUT THERE 99 Mumbai Railway Stations 100 Canadian English – Is That a Thing 102 Bury Your Dead 105 Listening: Bury Your Dead cont. 109 Genre: A Single Story 110 EXTRA READING: I am the child of a stolen child 112
3 CHANGE 43 Big Brain 44 The Creeps 47 We Thought We Could Fly 51 Listening: Preparing for Our Climate Future 53
EXTRA READING: Terra Nullius 116 EXTRA LISTENING: Terra Nullius cont. 118
Genre: Hawaii Gives Hope 55 4 RESISTANCE 61 Still I Rise 62 A Final Thought 64 All the Uses of Darkness 68 Listening: All the Uses of Darkness cont. part 1 and 2 72 Doublethink 73
Horror in the Outback 88 Listening: Snow Night 91 A Brighter Future for Games 95
7 TRANSHUMANISM 121 How To Live Life Today 122 Transhumanism 125 Seeing in the Dark 128 Listening: Androids 131 Genre: Blade Runner Movie Review 133 ENGLISH HANDBOOK 137 WORD LISTS 159
1 IDENTITY
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So Yesterday By Scott Westerfeld
Logo Exile | someone who has abandoned logos and brands
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At the top of the pyramid there are the Innovators. The first kid to keep her wallet on a big chunky chain. The first to wear way-too-big pants on purpose. To wash jeans in acid, stick a safety pin in something, or wear a hooded sweatshirt inside a leather jacket. The mythical first guy who wore his baseball cap backward. When you meet them, most Innovators don’t look that cool, not in the sense of fashionable, anyway. There’s always something off about them. Like they’re uncomfortable with the world. Most Innovators are actually Logo Exiles, trying to get by with the twelve pieces of clothing that are never in or out of style. Still, there’s always one thing that stands out on an Innovator. Something new. Next level down the pyramid are the Trendsetters.
The Trendsetter’s goal is to be the second person in the world to catch the latest disease. They watch carefully for innovations, always ready to jump on board. But more importantly, other people watch them. Unlike the Innovators, they are cool, so when they pick up an innovation, it becomes cool. A Trendsetter’s most important job is gatekeeper, the filter that separates out real Innovators from those crazy people wearing garbage bags. (Although I’ve heard that in the 1980s, there were some Trendsetters who actually started wearing garbage bags. No comment.) Below them are the Early Adopters. Adopters always have the latest phone, the latest music player plugged into their ear, and they’re the guys who download the trailer a year before the movie comes out. (As they grow older, Early Adopters’ closets fill up with dinosaur media: Betamax videos, laser discs, eight-track tapes.) They test and tweak the trend, softening the edges. And one vital difference from the Trendsetters: Early Adopters saw their stuff in a magazine first, not on the street. Further down we have the Consumers. The people who have to see a product on TV, placed in two movies, fifteen magazine ads, and on a giant rack in the mall before saying, “Hey, that’s pretty cool.” At which point it’s not. Last are the Laggards. I kind of like them. Proud in their mullets and feathered-back hair, they resist all change, or at least all change since they got out of high school. And once every ten years they suffer the uncomfortable realization that their brown leather jackets with big lapels have become, briefly, cool. But they bravely tuck in their Kiss T-shirts and soldier on.
Betamax video | old cassette format of movies for home use laser disc | old format of disc for film eight-track tape | magnetic tape soundrecording technology (1960s) laggard | someone resisting change feathered-back hair | layered hair brushed back to look like birds’ feathers
Go to the word list. Practise the words in Wordmatch
and Spelling.
Textwork A. At First Sight Explain in your own words: 1. Innovator 2. Trendsetter 3. Early Adopter 4. Consumer 5. Laggard
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B. Food for thought Discuss in pairs or groups. 1. Would you agree that this pyramid is present where you live or go to school? Is
this how it works? Explain. 2. If you had to add another group or level to the pyramid, which one would that be?
Why? 3. Can you think of any recent trends that fit the pattern of the pyramid? Give a
couple of examples and explain how they fit the pattern. 4. Now, apply the groups from the pyramid to your own school or environment.
a. Which group do you feel you belong to? b. Would you rather belong to another group? Why/Why not? 5. Are all the groups the same size? Why/Why not? 6. Which of the groups would you say is the most powerful? Why? 7. Would it be possible to cross from one group to the other? How? 8. Discuss what this text has to do with your own identity and identity in general.
Prepare a list with a few talking points that summarise your discussions.
Word World A. Fill in the blanks, following the examples.
Noun
Noun
Verb
Someone who does
The activity
To carry out the activity
Examples innovator consumer adopter
innovation consumption adoption
innovate consume adopt
___________________________________
following
follow
2. hiker
___________________________________
hike
3.
___________________________________
research
___________________________________
4.
___________________________________
rule/ruling
rule
5.
___________________________________
programming
program
6.
___________________________________
leadership
lead
7. voter
___________________________________
vote
8. competitor
___________________________________
compete
1.
B. Translate the words into Swedish.
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C. Fill in the right words in the sentences. Remember to make sure you use the right form.
The ruler did not want the (1) recounted from the election, even though the result was too close to call. The campers (2) up a mountain on their way across the country. They (3) an old trail from the last century, marked on the map only with a thin pencil stroke. When you go to a grocery store, it is your duty as a (4) to make sure the merchandise is of good quality and a decent price. A new political blogger has gathered a large online (5), making her a fierce (6) for the top list of media influencers. Her training as a (7) finally landed her a job with one of the largest gaming companies in the industry. He (8) his father’s interest in plants and decided to become a (9). As a society, we (10) more and more energy and will need to invest heavily in future (11) in clean, sustainable energy to keep up with demand, while making sure the future is safe for future generations. This will require strong (12) from our elected politicians. D. What part of speech do the words in part C belong to? part of speech | ordklass
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READING STRATEGY The following text contains a few technical terms and expressions. However, sometimes, seemingly complicated words do not hold the key to the actual message. So, what is the reader to do? Is it necessary to look up all the new words or is it better to focus on the ones that are crucial in order to understand the context? Again, it all has to do with the purpose of the reading. For this text, try the following strategies: • Read the questions connected to the text (“At first sight”) before reading the text. That way, you will know what information is needed in order to answer the questions. The purpose of the questions is to make sure that you understand what you have read. • Go through the vocabulary list connected to the text before reading. Knowing these words in advance will help you understand the text better.
You Are What You Like By Christiane Gelitz
FAST FACTS: Personal Possessions 1. Our tastes in art, books and music reveal a great deal about our
personality. demanding aesthetic experiences | challenging artistic experiences or encounters
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2. People who are particularly open tend to prefer demanding aesthetic
experiences; those who are more emotionally reactive prefer less challenging pursuits.
3. The high we feel from hearing a favorite song activates brain
regions associated with other highs, such as that we get from eating chocolate. The Beatles or Brahms, Bauhaus or Braque–your cultural preferences say a lot about your personality.
A friend invites you to his new apartment. As he cues up an old jazz record, you look around his cluttered room for somewhere to sit. Works of literature and philosophy are stacked waist-high next to the desk. Thumbtacks anchor a colorful Picasso print to the wall. His collection of foreign films and documentaries topples out of an unpacked box. His housemate’s digs–which you spy across the hall–are a different story: a framed Monet poster hangs over the neatly made bed; top-40 CD cases and box sets of TV sitcoms line the shelves; carefully arranged gossip magazines fill a nearby rack. Without even meeting the roommate, you are willing to bet that these two won’t live together for long, and, in fact, you are probably right. An increasing number of psychological studies reveal strong associations between personality traits and aesthetic tastes. According to these investigations, the jazz aficionado–who prefers challenging books and abstract art–is more likely to be an extrovert and open to new experiences. The top-40 fan, on the other hand, probably shies away from novelty. Based on his fondness for Impressionist art, though, he is likely to be agreeable and conscientious. Profiling of this sort is far from perfect. We all know the stereotypebusting slacker with highbrow hobbies or the scholar who loves soap operas and pop. Nevertheless, current research shows that we can, to a fair extent, judge a book’s reader from its cover: if you like challenges, chances are you will seek them out in the media you consume. If you are gregarious and social, you will probably gravitate toward songs, magazines and television shows in the public eye. And if you are highly emotional, you may turn to culture and art primarily for comfort or distraction. Indeed, our personalities–perhaps even more than our intelligence or education–hold tremendous sway over what we read, listen to and watch.
The Beatles | English pop group founded in the 1960s Brahms | classical composer Bauhaus | modern style of architecture, design and art in the early 1900s Braque | French painter, 1882–1963 jazz aficionado | jazz lover, jazz expert psychological calling card | mental business card
“How you live tells one story, what you listen to might tell another …” The Beat of a Different Drum
Sensation seekers also have clear musical preferences. As Zuckerman reported some 25 years ago, they tend to enjoy rock or classical music, not film scores or hymns. More recent studies also support the idea that personality molds our musical tastes–so much so that an iTunes library of someone’s favorite songs can almost serve as a psychological calling card. In 2006 Gosling and Peter Jason Rentfrow of the University of Cambridge asked subjects to listen to 10 songs and then describe the person–a stranger–who chose them. They found that, using only these top-10 playlists, the participants could make accurate judgments about
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the stranger’s openness to new experiences, degree of extroversion and personal values. Novelty Seeker?
People with a high degree of openness to new experiences tend to share these six characteristics: – Strong imagination and lively fantasy life – Varied interests in art, music and literature – Appreciation of emotional experiences – Intellectual curiosity – Readiness to question previously held values and norms Sensation Seeking–Looking for Kicks
The insatiable hunger for stimulation has four facets: – Tendency to be bored – Desire for change – Desire for thrills – An uninhibited lifestyle Go to the word list. Practise the words in Wordmatch
and Spelling.
Textwork A. At first sight Answer these questions about the text. 1. Describe the friend’s new apartment. 2. Describe his housemate’s part of the apartment. 3. Why doesn’t the author of the text think they will live together for very long? 4. What, according to the text, affects what we consume in media, art, music etc.? 5. What could be seen as our psychological calling card? 6. Explain in your own words:
a. novelty seeker b. sensation seeker c. cultural preferences B. Food for thought Work in pairs or small groups and discuss the following questions. 1. Look at your own room/living quarters. What could a visitor learn about you
from what s/he sees? List at least three clues and explain how and what they say about you.
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2. What would be the opposite of your personality? Describe that person
and describe that person’s living quarters. 3. What does the author mean by stating that ‘current research shows
that we can, to a fair extent, judge a book’s reader from its cover’? 4. Do you agree with the notion that our music libraries could be our
psychological calling cards? Why/Why not? 5. Write down your top five favourite artists. Share them with your
partner/group. Can you find any clues in the lists to your personalities? Do they match? Discuss and compare.
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Ready Player One By Ernest Cline
OASIS | a virtual world
In the year 2044, reality is an ugly place. The only time teenage Wade Watts really feels alive is when he’s jacked into the virtual utopia known as OASIS. Wade’s devoted his life to studying the puzzles hidden within this world’s digital confines–puzzles that are based on their creator’s obsession with the pop culture of decades past and that promise massive power and fortune to whoever can unlock them. But when Wade stumbles upon the first clue, he finds himself beset by players willing to kill to take this ultimate prize. The race is on, and if Wade’s going to survive, he’ll have to win–and confront the real world he’s always been so desperate to escape.
As I shuffled over to the toilet, a large flat-screen monitor mounted on the wall switched on, and the smiling face of Max, my system agent software, appeared on the screen. I’d programmed Max to start up a few minutes after I turned on the lights, so I could wake up a little bit before he started jabbering to me. “G-g-good morning, Wade!” Max stuttered cheerily. “Rise and sh-shshine!” Running system agent software was a little like having a virtual personal assistant–one that also functioned as a voice-activated interface with your computer. System agent software was highly configurable, with hundreds of preprogrammed personalities to choose from. I’d programmed mine to look, sound, and behave like Max Headroom, the (ostensibly) computergenerated star of late-‘80s talk show, a groundbreaking cyberpunk TV series, and a slew of Coke commercials. 14
“Good morning, Max,” I replied groggily. “I think you mean good evening, Rumpelstiltskin. It’s 7:18 p.m., OASIS Sta-sta-standard Time, Wednesday, December thirtieth.” Max was programmed to speak with a slight electronic stutter. In the mid-‘80s, when the character of Max Headroom was created, computers weren’t actually powerful enough to generate a photorealistic human figure, so Max had been portrayed by an actor (the brilliant Matt Frewer) who wore a lot of rubber makeup to make him look computer-generated. But the version of Max now smiling at me on the monitor was pure software, with the best simulated AI and voice-recognition subroutines money could buy. I’d been running a highly customized version of Max Headroom v3.4.1 for a few weeks now. Before that, my system agent software had been modeled after the actress Erin Gray (of Buck Rogers and Silver Spoons fame). But she’d proved to be way too distracting, so I’d switched to Max. He was annoying at times, but he also cracked me up. He did a pretty decent job of keeping me from feeling lonesome, too. As I stumbled into the bathroom module and emptied my bladder, Max continued to address me from a small monitor mounted above the mirror. “Uh-oh! It appears you’ve sp-sp-sprung a leak!” he said. “Get a new joke,” I said. “Any news I should know about?” “Just the usual. Wars, rioting, famine. Nothing that would interest you.” “Any messages?” He rolled his eyes. “A few. But to answer your real question, no. Art3mis still hasn’t called or written you back, lover boy.” “I’ve warned you. Don’t call me that, Max. You’re begging to be deleted.” “Touchy, touchy. Honestly, Wade. When did you get so s-s-sensitive?” “I’ll erase you, Max. I mean it. Keep it up and I’ll switch back to Wilma Deering. Or I’ll try out the disembodied voice of Majel Barrett.” Max made a pouty face and spun around to face the shifting digital wallpaper behind him–currently a pattern of multicolored vector lines. Max was always like this. Giving me grief was part of his preprogrammed personality. I actually sort of enjoyed it, because it reminded me of hanging out with Aech. And I really missed hanging out with Aech. A lot. My gaze dropped to the bathroom mirror, but I didn’t much like what I saw there, so I closed my eyes until I finished urinating. I wondered (not for the first time) why I hadn’t painted the mirror black too, when I’d done the window. The hour or so after I woke up was my least favorite part of each day, because I spent it in the real world. This was when I dealt with the tedious business of cleaning and exercising my physical body. I hated this part of the day because everything about it contradicted my other life. My real life, inside the OASIS. The sight of my tiny one-room apartment, my immersion rig, or my reflection in the mirror–they all served as a harsh reminder that the world I spent my days in was not, in fact, the real one.
Rumpelstiltskin | an old fairy tale character Buck Rogers | a fictional space adventure character from the late 1970s Silver Spoons | American sit com from the 1980s Art3mis | referring to Artemis, the Olympian goddess of hunting Wilma Deering | fictional space adventure character together with Buck Rogers Majel Barrett | played a nurse in the original Star Trek series vector lines | pattern of lines Aech | online friend of Wade’s immersion rig | launching apparatus
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haptic chair | Wade’s customized chair that helps him live online in the OASIS the Husky line | a model of clothing with a larger fit the egg | Wade is participating in a world wide hunt for an egg, hidden in the OASIS
“Retract chair,” I said as I stepped out of the bathroom. The haptic chair instantly flattened itself again, then retracted so that it was flush against the wall, clearing a large empty space in the center of the room. I pulled on my visor and loaded up the Gym, a stand-alone simulation. Now I was standing in a large modern fitness center lined with exercise equipment and weight machines, all of which could be perfectly simulated by my haptic suit. I began my daily workout. Sit-ups, stomach crunches, push-ups, aerobics, weight training. Occasionally, Max would shout words of encouragement. “Get those legs up, you s-s-sissy! Feel the burn!” I usually got a little exercise while logged into the OASIS, by engaging in physical combat or running around the virtual landscape on my treadmill. But I spent the vast majority of my time sitting in my haptic chair, getting almost no exercise at all. I also had a habit of overeating when I was depressed or frustrated, which was most of the time. As a result, I’d gradually started to put on some extra pounds. I wasn’t in the best shape to begin with, so I quickly reached a point where I could no longer fit comfortably in my haptic chair or squeeze in to my XL haptic suit. Soon, I would need to buy a new rig, with components from the Husky line. I knew that if I didn’t get my weight under control, I would probably die of sloth before I found the egg. I couldn’t let that happen. So I made a snap decision and enabled the voluntary OASIS fitness lockout software on my rig. I’d regretted it almost immediately. From then on, my computer monitored my vital signs and kept track of exactly how many calories I burned during the course of each day. If I didn’t meet my daily exercise requirements, the system prevented me from logging into my OASIS account. This meant that I couldn’t go to work, continue my quest, or, in effect, live my life. Once the lockout was engaged, you couldn’t just buy a new computer or go rent a booth in some public OASIS café. If I wanted to log in, I had no choice but to exercise first. This proved to be the only motivation I needed. The lockout software also monitored my dietary intake. Each day I was allowed to select meals from a preset menu of healthy, low-calorie foods. The software would order the food for me online and it would be delivered to my door. I never left my apartment. It was easy for the program to keep track of everything I ate. If I ordered additional food on my own, it would increase the amount of exercise I had to do each day, to offset my additional calorie intake. This was some sadistic software. But it worked. The pounds began to melt off, and after a few months, I was in near-perfect health. For the first time in my life I had a flat stomach, and muscles. I also had twice the energy, and I got sick a lot less frequently. When the two months ended and I was finally given the option to disable the fitness lockout, I decided to keep it in place. Now, exercising was a part of my daily ritual. Go to the word list. Practise the words in Wordmatch
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and Spelling.
Textwork A. At first sight Answer these questions about the text. 1. Who is Max? 2. What is Max’s purpose? 3. Describe Max. What is his personality? 4. What time of the day is it in the text? How do you know? 5. Describe the first five things Wade does when he wakes up, in the order
he performs them. 6. How does Wade live? 7. Why is he careful about fitness? 8. What is his fitness routine?
B. Food for thought Work in pairs or small groups and discuss the following questions. 1. What is the setting? Describe the time and place. 2. How would a system agent software work for you?
a. b. c. d.
What would your “Max” look like if you could choose one? What kind of personality would you like him/her to have? What would you name him/her? Explain your answers above.
3. Would it be possible to live like Wade today? What in the text is possible today
and what is not? Explain. 4. Do you know of anyone who spends his/her time in an online world? Describe. 5. Wade is concerned about how he looks in real life. Do you believe he is right to be
bothered or should he just not care? Discuss why/why not? 6. Is there something particular in your life that you would like to change? Why?
How would that work with your lifestyle? How would it fit into your daily routines?
Word World A. Idioms and expressions 1 Some idioms and expressions don’t make any sense when translated into another language. Translate the following Swedish expressions into English. (They are figures of speech and not meant to be taken literally.)
Den gubben gick inte! Gå i taket. Det blev pannkaka av alltihop. Ett strå vassare. Hen var en ful fisk. Få något om bakfoten. 17
B. Idioms and expressions 2 Work in pairs. Read your translations to each other and try and guess which expression it is. Compare your translations and explain (in English), using your own words, what they mean. C. Idioms and expressions 3 Match the following idioms and expressions with the correct definition. 1. Be on pins and needles
a. It’s raining heavily
2. Kill two birds with one stone
b. Be very nervous, unable to relax
3. Cool as a cucumber
c. Achieve two things with one action
4. Crack me up
d. Urinate
5. Dead as a doornail
e. There is more than one way of doing things
6. Die of sloth
f. Very calm, especially when surprised
7. Flush against
g. Die
8. Giving me grief
h. Completely dead
9. It’s raining cats and dogs
i. Criticising me in an annoying way
10. Kick the bucket
j. Let liquid in through a crack or a hole
11. Spring a leak
k. Make me laugh
12. Take a leak
l. In direct contact with
13. There is more than one way
m. Die as a result of not caring and being too lazy
to skin a cat D. Idioms and expressions 4 Pick five idioms from the list and write sentences on each one, using them correctly.
LISTENING STRATEGIES Not only can we use reading strategies to better understand the texts we read, there are also different listening strategies to be used. For the following text, why not try the following strategies? Before listening Go through the questions connected to the text; that way you will know what information to listen for. Go through the vocabulary list in order to follow what is being said better. While listening Take notes on a separate piece of paper while listening; the best way to do this is to write keywords because you probably won’t have time to write full sentences. Full sentences may make you miss out on what is being said.
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listening: Ready Player One, cont.
A. At first sight Listen to the extract from Ready Player One. Answer the following questions. 1. After weight training, Wade …
a. showers. b. starts a virtual running track. c. logs on to OASIS. 2. Why does Wade memorize songs form the 80s?
VR | short for Virtual Reality Gregarious Simulation Systems | fictional VR company in the novel
a. They might save his avatar’s life one day. b. They might help his avatar run faster on the nebula track. c. He likes singing in the shower. 3. The shower is like a/an …
a. starry nebula. b. car wash. c. elaborate contraption. 4. In real life, Wade is …
a. a superstar. b. a famous gunter with a fan club. c. a lonely hermit. 5. Online, in the OASIS, Wade is …
a. Parzival, a world famous gunter with fan clubs. b. Parzival, a recluse, a hermit. c. an anti-social geek with no friends. 19
WRITING THE WRITING PROCESS 1. Plan your text
• •
Mind map and/or brainstorm ideas Organise your ideas and remove those you do not need
2. Write an outline of what you have come up with in the first step of the process 3. Do the required research 4. Limit your content
•
Check your text against the assignment: are you doing what is required of you? Are you answering the questions? Are you limiting yourself to the actual assignment?
5. Write your first draft 6. Peer response
•
Have a friend or your teacher read through your draft as well as the original assignment, and give you feedback accordingly. Ask them to look for mistakes that you often make
7. Edit your text
•
Read through the feedback, correct, and compare the text to the original assignment and, once again, make sure that you have done what you are meant to do
8. Finalise your text
PLAN YOUR TEXT (1) Planning your text is the first step in the writing process. There are different ways of starting this process, and you need to choose one that works well for you. In order to know which one you prefer, make sure you try different ones. In this book, we will introduce you to two methods: mind map, and brainstorm. Either of them will support you in the process of organising and structuring your ideas that will lead to the final text.
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MIND MAP In a mind map you write the problem/question in the centre of a piece of paper, and from that main idea you add everything that is connected to the issue without limiting or disregarding any ideas. Let your imagination lead the way—and by all means, do not feel limited to text only, draw images or diagrams! The purpose of a mind map is to give an overview of the assignment and its content, while also providing you with a visual path forward for your work. It will help you decide what is the most relevant in relation to the original assignment, and what ideas to connect in order to write a clear and logical piece.
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BRAINSTORMING Brainstorming is in many ways similar to the mind map, but rather than creating a map you create written bullet points, or lists, using various subheadings. The main headline is the subject of the assignment. The purpose of brainstorming is, like the one of mind mapping, to give you an overview and let your ideas flow freely before deciding what to include or not in your paper.
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OUTLINE (2) Sort through your ideas from the mind map/brainstorm document. Exclude what you do not need, or want, and organise what is left into a basic structure. A good way to get started is to write subheadings. This helps you create a rough template for your written work. It can look like this: TITLE
The title should reflect the assignment and what you are setting out to do. This helps future readers to quickly assess if your work is of interest to them. INTRODUCTION
Give background information and a presentation of the assignment. Try to engage the reader and give a clear understanding of what s/he can expect from your piece. BODY PARAGRAPHS (1, 2, 3, and so on ‌)
Body paragraphs are natural parts in which you organise your thoughts into writing. Let each body paragraph deal with one specific issue or perspective and present its arguments within this paragraph. When moving on to the next argument or issue, start a new body paragraph. This will make it easier for the reader to follow your thoughts. CONCLUSION
Conclude your paper by summarizing your thoughts or main points and/or ideas. Connect them to your introduction to give your paper a sense of coming full circle. Do not add new information in your conclusion.
DO REQUIRED RESEARCH (3) By now you should have a good idea of what you need to research, and where to find the information. Depending on the assignment, you can use a lot of different sources and compare different sources to each other; if they differ, maybe you should find out why. Sometimes, part of an assignment is to limit your sources: what material you are allowed to use, what you should use, and what you must not use. Make sure you know the parameters for your research.
LIMIT YOUR SCOPE (4) Make it a priority when you organise your ideas to limit your scope; what is important to the assignment? Do not fall into a trap writing too much about what is not important to the original assignment. Other aspects might be thrilling and interesting, but if they do not add anything of importance to the original problem, leave them out.
FIRST DRAFT (5) When it is time to put it all together for the first time, use your outline and work from that. It can be useful to write temporary subheadings for your paragraphs to help structure your thoughts as well as your writing. Moreover, it gives you an overview of your work
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so you can make sure you place relevant information in the right place. Just make sure to delete the subheadings in the final version. Double-check that you are still within the framework of the original assignment.
PEER RESPONSE (6) Let someone else read through your first draft and give feedback. Confirm that the person understands the assignment and the parameters for your work. It can be a friend, a colleague, or a teacher. Useful questions when doing peer response: CONTENT
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Does the paper follow the given instructions in the assignment? Does it answer what it sets out to answer?
STRUCTURE
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Does the paper include a title and an engaging introduction? Do they give you an understanding of what’s to come?
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What can be said about the structure of the paper? Introduction and conclusion: is the connection between the two logical/noticeable? Paragraphing and linking between paragraphs: does each paragraph focus on its topic?
• • • •
How does the author support his/her arguments/ideas? Is anything unclear after reading through the paper? What are the paper’s strong points? What are the paper’s weak points? Give suggestions of alterations/improvements.
LANGUAGE: REGISTER AND GRAMMAR
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What can be said about the language? E.g. check for subject/verb agreement, punctuation errors, spelling errors, sentence structure, etc.
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Does the paper have a working paragraph structure? Are there good transitions between paragraphs?
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Are there linking words connecting paragraphs and sentences? What can be said about the register of the paper (level of formality)?
Remember to give constructive criticism. Be encouraging and always end on a positive note.
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CHECKLIST FOR THE REVIEWER ✔ Content ✔ Structure ✔ Register and grammar
EDIT (7) Use the feedback and your own re-reading to edit and change your writing. Now is the time to not only focus on content, structure, and logic, but also language and grammar. Do the points you make come across as clear and to the point? Is your language repetitive? Do you need to be more nuanced?
FINAL VERSION (8) Implement edits, read through the whole thing again, and make sure everything is ok. Read it against the original assignment – have you done what you set out to do?
SOURCES AND REFERENCING When writing a paper, you need to list what sources you have used. You are always allowed to use the ideas, claims, information, and words of others—as long as you clearly indicate or show where the information comes from, i.e. what source you used. There are many reasons for citing your sources carefully and correctly, some of them being:
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Show source of information Give credit where credit is due (who originated the information you use) Your thoughts/ideas will gain credibility if supported by respected sources Plagiarism. If you do not cite your source, you might be accused of plagiarism (theft)
You can either quote directly from the source, word by word within quotation marks, or you can paraphrase. When paraphrasing, you rephrase, or reword, the original source. Nevertheless, you still need to include it in your list of references.
Example of direct quote ➜ It is easy to agree with Alistair Alison (2019, p. 2) in his book The Best Book for Writing Essays when he says, “I know how to write the best essays, and nothing but the best essays.” Note, if only part of the quote by the author is used, it’s important to substitute the words you left out by using […]: It is easy to disagree with Alistair Alison in his book The Best Book for Writing Essays when he says “I know how to write the best essays […]” because writing essays can be tricky if you don’t. (Alison, 2019, p.2)
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TRACTION Blue Engelska 5 Traction Blue för Engelska 5 är ett tydligt och strukturerat läromedel för gymnasiets högskoleförberedande program. Elevpaketet innehåller ett digitalt läromedel och en tryckt bok. I det digitala läromedlet finns samtliga texter, övningar och resurssidor inlästa med autentiska röster. Här finns också självrättande övningar för träning av glosor, grammatik, språkriktighet samt läromedlets alla hörövningar. Det digitala materialet är tillgängligt på dator, surfplatta eller mobiltelefon. Elevboken innehåller en mängd olika texttyper, och eleverna möter dem i fast ordning. I boken finns artiklar, facktexter, skönlitteratur, dramatik och lyrik, såväl kortare notiser som längre textstycken. I avsnittet English Handbook ges vägledning i det egna språkutvecklande arbetet med talande, skrivande, läsande och lyssnande. Licensen som ingår i elevpaketet varar i fyra år och kan ärvas mellan elever. Traction Blue för Engelska 5 finns även som digitalt läromedel: Elevlicens ISBN 978-91-44-13183-2 Klasslicens ISBN 978-91-44-13184-9
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