9789147080557

Engelska A 5 för gymnasiets högskoleförberedande program och komvux

Blueprint A Version 2.0 består av • Allt-i-ett-bok • Facit • Lärar-cd • Lärarhandledning inkl. cd-rom med prov Till Blueprint A Version 2.0 finns också en interaktiv webb med självrättande färdighetsträning, ljudfiler till hela boken, film, casepedagogik och guidad Internetanvändning som kompletterar boken. Gå in på www.liber.se/blueprintA för att testa en demo.

Träna glosor gratis på www.liber.se/glosmaskin.

Christer Lundfall • Ralf Nyström • Jeanette Clayton

Den omtyckta Blueprint är nu uppgraderad. Version 2.0 är lättare att använda, den är aktuell och innehåller det senaste i engelska för gymnasiet.

Kärnan i Blueprint är densamma som tidigare. Engelskan ska vara ett verktyg och arbetssättet närmar sig svenskundervisningen.

BLUEPRINT A

BLUEPRINT A – VERSION 2.0

BLUEPRINT A ENGELSKA 5

VERSION 2.0

Christer Lundfall Ralf Nyström Jeanette Clayton

Best.nr 47-08055-7 Tryck.nr 47-08055-7-04

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ISBN 978-91-47-08055-7 © 2007 Christer Lundfall, Ralf Nyström, Jeanette Clayton och Liber AB Redaktion Susanne Svensson och Inger Strömsten Formgivning Eva Jerkeman Bildredaktion Marie Olsson Produktion Björn Trygg Granskning och utprövning Camilla Malmer, Elisabeth Andrén, Kerstin B. Rydén, Berit Alvedal, Anna-Stina Nilsson, Ingalill Audibert, Maud Ebringer, Anita Lindstrand, Ulla Nordgren, Yvonne Viklund Tack till eleverna på Franska skolan, Stockholm, för mönstertexterna till Writer’s Workshop.

Andra upplagan 5 Tryck Kina 2013 Repro Repro 8 AB, Stockholm

Kopieringsförbud Detta verk är skyddat enligt upphovsrättslagen.

Kopiering utöver lärarens och elevers rätt att kopiera för undervisningsbruk enligt BONUS-avtal är förbjuden.

BONUS-avtal tecknas mellan upphovsrättsorganisationer och huvudman för utbildningsanordnare, t.ex. kommuner/universitet.

Intrång i upphovsmannens rättigheter enligt upphovsrättslagen kan medföra straff (böter eller fängelse), skadestånd och beslag/förstöring av olovligt framställt material. Såväl analog som digital kopiering regleras i BONUS-avtalet.

Läs mer på www.bonuspresskopia.se.

Liber AB, 113 98 Stockholm Tfn 08-690 92 00 www.liber.se Kundservice tfn 08-690 93 30, fax 08-690 93 01 e-post: kundservice.liber@liber.se

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Struck by Lightning 8 A Voice in the Wilderness Cries out … 17 FOCUS ON LISTENING: Getting Out 22 FOCUS ON MUSIC: Don’t Let Me Get Me 24 28 SPEAKING 1 – Talking about yourself and others 28 SPEAKING 2 – Cartoons 29 WRITING 1 – Personal narrative 30 WRITING 2 – E-mail or informal letter 30 WRITING & SPEAKING

CONTENTS

On Your Own 7

All that Glitters … 31 Magic Image 33 Tricks in Pics 35 FOCUS ON MUSIC: I’m the Slime 42 Product Placement 44 Going Too Far for Gold 50 FOCUS ON LISTENING: Uncommon Sense 55 57 – Presenting an article 57 SPEAKING 2 – Show and tell! 57 SPEAKING 3 – Product placement 58 WRITING 1 – News story 58 WRITING 2 – Personal narrative 58 WRITING & SPEAKING SPEAKING 1

What’s Wonderful? 59 Diving In 60 In the Ashes 68 FOCUS ON LISTENING: Wonderful

Hour 70 Grading Wonderful Happiness 72 Testing the Human Spirit 76 83 Presenting an article 83 SPEAKING 2 – Speech 83 SPEAKING 3 – Talk show 84 WRITING 1 – Summary-response paper 84 WRITING 2 – News story: Wonderful news 84 WRITING & SPEAKING SPEAKING 1 –

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Human Rights and Wrongs 85 Lollipops and Guns 86 FOCUS ON LISTENING: The Stockholm Syndrome 101 FOCUS ON LISTENING: He’s a Big Bastard 103 Punishment Outcry 106 113 SPEAKING 1 – Team debate 113 SPEAKING 2 – Speech 113 SPEAKING 3 – Instructions 113 WRITING 1 – Responding to literature 114 WRITING 2 – Argumentative essay 114 WRITING & SPEAKING

Under Construction 115 FOCUS ON MUSIC: Video 116 Strange Powers 120 Making Sex 129 People like me 135 FOCUS ON LISTENING: Gender Roles 141

143 – Speech 143 SPEAKING 2 – Team debate 143 WRITING 1 – Discussion essay 144 WRITING 2 – Summary-response paper 144 WRITING & SPEAKING SPEAKING 1

Life On The Edge 145 Living – Or Just Being Alive? 146 Is Everyday Life too Dull? 148 A Survival Quiz 153 Bungee Jump – A Ritual or an Adventure? 155 FOCUS ON LISTENING: Tightrope 159 FOCUS ON LISTENING:

161 SPEAKING 1 – Team debate 161 SPEAKING 2 – Speech 161 WRITING 1 – Discussion essay 162 WRITING 2 – Responding to literature 162 WRITING & SPEAKING

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Virtual Reality for Real 163 A Career in Computer Games 164 and Cons of File Sharing 180 A Match Made in Cyberspace 182 FOCUS ON LISTENING: Pros

189 – Talk show 189 SPEAKING 2 – Speech 189 WRITING 1 – Letter to the editor 190 WRITING 2 – E-mail or informal letter 190 WRITING & SPEAKING SPEAKING 1

Wages of Hate 191 War 192 Asking the Wrong Questions 194 I Owe It to My People 204 FOCUS ON LISTENING: Like Doves We Rise – Part I 211 FOCUS ON LISTENING: Like Doves We Rise – Part II 214 FOCUS ON MUSIC:

215 Talk show 215 SPEAKING 2 – Team debate 215 WRITING 1 – Argumentative essay 216 WRITING 2 – Film review 216 WRITING & SPEAKING SPEAKING 1 –

Speaker’s Corner 217 Writer’s Workshop 238 Focus on Language 271 Word List 314

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Förord Blueprint A Version 2.0 är en uppgraderad version av Blueprint A. Kärnan i Blueprint är dock densamma: Engelskan ska vara ett verktyg och arbetssättet närmar sig svenskundervisningens.

De muntliga och skriftliga färdigheterna lyfts fram i varje kapitel genom de blå sidorna i Writing & Speaking. Övningarna där stöds av de likaledes blå sidorna i Writer’s Workshop och Speaker’s Corner i slutet av boken. Writer’s Workshop och Speaker’s Corner är elevernas guider till att använda språket i tal och skrift – genom olika talsituationer, texttyper och anpassning till mottagaren. Där finns utförliga förklaringar, stöd och exempel.

Blueprint A Version 2.0 är enklare att använda än Blueprint A. Några teman i boken, flera texter, många hörövningar och andra övningar är omarbetade eller nyskrivna. Focus on Music är ett helt nytt inslag som innehåller text- och hörövningar baserade på musik. Layouten har förändrats och blivit luftigare och mer tillgänglig.

Eleverna får stegvis stöd att bygga upp sin förståelse av en texteller hörövning i Read & React, Listen & React och Reflect & Share och ordövningarna i Word Work är noggrant utarbetade för att bygga upp det mest användbara ordförrådet.

Writer’s Workshop och Speaker’s Corner har ny layout med tydligare upplägg. Writer’s Workshop har dessutom nya mönstertexter som visar hur eleverna kan tillämpa de olika instruktionerna.

Styckeordlistorna har fått frekvensmarkeringar så att eleverna kan se vilka ord de ska fokusera på att lära sig.

Det finns också en interaktiv webb till boken där eleverna kan få extra träning, möjlighet att testa sig själva – och dessutom får stöd i form av ljudfiler till samtliga texter och hörövningar.

Vi har noga gått igenom Blueprint med utgångspunkt från ämnesplanen i engelska i Gy11. Vi konstaterar att Blueprint ger en mycket god grund för eleverna att tillägna sig det centrala innehållet i ämnesplanen i Gy11.

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Back in school again and back at work. We all get back with new experiences – some of them good, some probably not as good.

Either way your life has become richer, and you are a little wiser. Some of the things you have experienced will stay with you for some time, whether you are on your own or not. The same goes for the people in this chapter.

VIRTUAL REALITY FOR REAL

ON YOUR OWN

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; Struck by Lightning From The Red Notebook by Paul Auster

Sometimes dramatic incidents change your whole outlook on life.

hitting the cut-off man hitting a counterpart (in baseball)

That is what happened to the American author Paul Auster when as a teenager he was at a summer camp in New York State.

T

5

here were sixteen or eighteen boys in my group. Most of us had been together for several years, but a couple of newcomers had also joined us that summer. One was named Ralph.

He was a quiet kid without much enthusiasm for dribbling basketballs or hitting the cut-off man°, and while no one gave him a particularly hard time, he had trouble blending in. He had flunked

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a couple of subjects that year, and most of his free periods were spent being tutored° by one of the counselors°. It was a little sad, and I felt sorry for him – but not too sorry, not sorry enough to lose any sleep over it.

Our counselors were all New York college students from Brooklyn and Queens. Wise-cracking° basketball players, future dentists, accountants, and teachers, city kids to their very bones.

Like most true New Yorkers they persisted in calling the ground the ‘floor’, even when all that was under their feet was grass, pebbles, and dirt. /…/ Imagine our surprise, then, when one afternoon our counselor announced that we were going for a hike in the woods. He had been seized by an inspiration and wasn’t going to let anyone talk him out of it. Enough basketball, he said. We’re surrounded by nature, and it’s time we took advantage of it and started acting like real campers – or words to that effect. And so, after the rest period that followed lunch, the whole gang of sixteen or eighteen boys along with two or three counselors set off into the woods.

It was late July, 1961. Everyone was in a fairly buoyant mood, I remember, and half an hour or so into the trek most people agreed that the outing had been a good idea. No one had a compass, of course, or the slightest clue as to where we were going, but we were all enjoying ourselves, and if we happened to get lost, what difference would that make? Sooner or later, we’d find our way back.

tutored taught counselor someone who takes care of younger people at a summer camp wise-cracking funny

2. What are we told about the counselors?

3. What do you think is going to happen – and to whom …?

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hen it began to rain. At first it was barely noticeable, a few light drops falling between the leaves and branches, nothing to worry about. We walked on, unwilling to let a little water spoil our fun, but a couple of minutes later it started coming down in earnest. Everyone got soaked, and the counselors decided we should turn around and head back. The only problem was that no one knew where the camp was. The woods were thick, dense with clusters of trees and thorn-studded bushes, and we had woven

ON YOUR OWN

1. What do we learn about Ralph?

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smolder burn slowly without a flame helter-shelter stampede disorganised rush pasture a field used for cattle to eat barbed wire strong wire with sharp pointed parts

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our way this way and that, abruptly shifting directions in order to move on. To add to the confusion, it was becoming hard to see.

The woods were dark to begin with, but with the rain falling and the sky turning black, it felt more like night than three or four in the afternoon.

Then the thunder started. And after the thunder, the lightning started. The storm was directly on top of us, and it turned out to be the summer storm to end all summer storms. I have never seen weather like that before or since. The rain poured down on us so hard that it actually hurt; each time the thunder exploded, you could feel the noise vibrating inside your body. Immediately after that, the lightning would come, dancing around us like spears. It was as if weapons had materialized out of thin air: a sudden flash that turned everything a bright, ghostly white. Trees were struck, and the branches would begin to smolder째. Then it would go dark again for a moment, there would be another crash in the sky, and the lightning would return in a different spot.

The lightning was what scared us, of course. It would have been stupid not to be scared, and in our panic we tried to run away from it. But the storm was too big, and everywhere we went we were met by more lightning. It was a helter-skelter stampede째, a headlong rush in circles. Then, suddenly, someone spotted a clearing in the woods. A brief dispute broke out over whether it was safer to go into the open or continue to stand under the trees. The voice arguing for the open won, and we all ran in the direction of the clearing.

4. In what ways are the counselors unfit to cope with the situation?

5. What do the boys decide to do to be safe?

30

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t was a small meadow, most likely a pasture째 that belonged to a local farm, and to get to it we had to crawl under a barbedwire째 fence. One by one, we got down on our bellies and inched our way through. I was in the middle of the line, directly behind Ralph. Just as he went under the barbed wire, there was another flash of lightning. I was two or three feet away, but because of the rain pounding against my eyelids, I had trouble making out what happened. All I knew was that Ralph had stopped moving.

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VIRTUAL REALITY FOR REAL 11

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stunned unconscious

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I figured that he had been stunned°, so I crawled past him under the fence. Once I was on the other side, I took hold of his arm and dragged him through.

I don’t know how long we stayed in that field. An hour, I would guess, and the whole time we were there the rain and thunder and lightning continued to crash down upon us. It was a storm ripped from the pages of the Bible, and it went on and on and on, as if it would never end.

Two or three boys were hit by something – perhaps by lightning, perhaps by the shock of lightning as it struck the ground near them – and the meadow began to fill with their moans. Other

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6. Why does the narrator have problems understanding what

happened?

7. How is the narrator trying to bring Ralph back to life?

8. How close is the narrator himself from being killed?

9. In what way has the accident changed the author’s life? Look at the

last paragraph.

tinge color electrocuted kill someone with electricity

ON YOUR OWN

5

boys wept and prayed. Still others, fear in their voices, tried to give sensible advice. Get rid of everything metal, they said, metal attracts the lightning. We all took off our belts and threw them away from us.

I don’t remember saying anything. I don’t remember crying.

Another boy and I kept ourselves busy trying to take care of Ralph.

He was still unconscious. We rubbed his hands and arms, we held down his tongue so he wouldn’t swallow it, we told him to hang in there. After a while, his skin began to take on a bluish tinge°. His body seemed colder to my touch, but in spite of the mounting evidence, it never once occurred to me that he wasn’t going to come around. /…/ I had never seen a dead person before.

It was the barbed wire that did it, I suppose. The other boys hit by the lightning went numb, felt pain in their limbs for an hour or so, and then recovered. But Ralph had been under the fence when the lightning struck, and he had been electrocuted° on the spot.

Later on, when they told me he was dead, I learned that there was an eight-inch burn across his back. I remember trying to absorb this news and telling myself that life would never feel the same to me again. Strangely enough, I didn’t think about how I had been right next to him when it happened. I didn’t think. One or two seconds later, and it would have been me. What I thought about was holding his tongue and looking down at his teeth. His mouth had been set in a slight grimace, and with his lips partly open, I had spent an hour looking down at the tips of his teeth.

Thirty-four years later, I still remember them. And his half-closed, half-open eyes. I remember those, too.

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REA D & REACT

STUDY TIP

Read & React are questions or other tasks where you can find the answers in the text. They help you to understand the text. If you wish to go on directly to Reflect & Share – do so.

Although this memory is retold to us 34 years after it actually happened, the author still remembers exact details of the surroundings, the people, the weather, and the accident.

Give examples.

REF LECT & S H A RE

STUDY TIP

In Reflect & Share you are asked to reflect and draw your own conclusions, or take a stand and argue for it. There is seldom only one correct answer. You will be asked to prepare and then discuss in groups or in class.

Prepare yourself individually, and then share your answers and thoughts with a group of friends.

1. According to the author, Paul Auster, “chance is part of reality.

We are continually shaped by the forces of coincidence,” he says, calling them “collisions”. What, according to you, could this outer force be, making our lives so unpredictable?

Destiny? God? Or what?

2. Have you ever been confused – and maybe amused – by

a striking coincidence in your own life (like meeting three people named George on the same day or thinking of someone exactly when she or he is calling you on the phone)?

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WOR D WOR K

A golden rule for learning new words: focus your attention on groups of words as you read, to see how they make sense in real sentences, in context.

A.

STUDY TIP

Synonyms

Part 1 – What words are used in the text?

In the story the author uses other words that give a similar meaning to those in italics. Choose from the list.

1. The councelors kept calling the ground the ‘floor’.

2. One of the counselors had been caught by an inspiration.

3. Along with two or three counselors the whole group started to

walk into the woods.

4. They were all happy.

5. They walked on, reluctant to let a little rain destroy their fun.

6. Everyone got soaked, and they decided to turn around and

return.

7. The woods were thick, compact with groups of trees and

thorn-studded bushes. clusters

head back

set off

dense

persisted in

spoil

enjoying themselves

seized

unwilling

different place.

2. Suddenly someone caught sight of a clearing in the woods.

3. A short quarrel broke out over whether it was safer to go into

the open.

4. The voice supporting the open won.

5. One by one, they got down on their stomachs and inched

through the barbed wire.

6. The boys wept and called upon God. 7. Some tried to give good practical advice.

8. Ralph was still knocked out.

ON YOUR OWN

Part 2 – The story goes on.

1. It would go dark, and then the lightning would come back in a

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9. The other boys felt pain for an hour, and then got well again.

STUDY TIP

arguing for

recovered

spotted

bellies

return

unconscious

dispute

sensible

prayed

spot

The Follow up part of all the Word Work exercises in this book is where the actual learning takes place. Here you can check that you have learned the words. Do the Follow up part until you can do it all uently!

FOLLOW UP

Read the sentences in part 1 and 2 again to yourself or to a friend.

Can you remember all the synonyms now?

B.

Be careful! Confusing words

English sometimes has two words where Swedish has only one.

Use a dictionary and look up the difference in meaning between the two English words.

1. storm

gale

2. crash

crush

3. flash

lightning

4. subject

substance

FOLLOW UP MORE WORD WORK ON THE WEBSITE

Write a sentence for each word. Think of situations where the different meanings are clear.

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A VOICE IN THE WILDERNESS CRIES OUT:

Come Get Me! from USA Today, by Craig Wilson

Have you ever been forced into something you didn’t fancy? Many wellmeaning parents think that their kids will love the same thing as they

poison ivy a plant that causes an irritating skin rash

do or did when they were young. The result is that kids may hate this

s nt their kid nds have se ie fr y m f o ll r as I can camp. As fa to summer e kids and good for th is is th , ll te g to m beginnin friends. I a y m r fo d t a gre vente for camp was in t a th d n a st w 5 under . I am a slo ot the child n t, n re a p the learner. s go off it seems, kid These days,

A

a time. months, at en ev r o s, k es, for wee the Berkshir in p m ca et in There’s ball nos, soccer in the Poco p m ca r te compu alifornia. surfing in C , n a ig h ic M per. Only happy cam a er ev n s a Iw 5 ch time.

Hated it ea e. ic tw t en w my friend as much as t o n e b y a M just so poison ivy° in ed ll ro Ron, who

VIRTUAL REALITY FOR REAL

activity even as adults …

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en quietly g songs, th n si s u d a h campfire, oods to the dark w wasn’t as to st in ju d I re e. ea m p o s. disap sent h d our back he could get noises behin r ea b a e n k a w m . I don’t o creative. ick at camp es IT FOR ME m ID o D h T A re H o T sm . Sitting No one wa eeping bag for a sl e a n o n g w o ly n ’t o don 5 tent, and I was as I want to than I was, as outdoors ed back into is b ° h im cl rc o e p v a h on a rned . If I could 5 week mer’s night. ala and retu p Im y ev et on a sum h g C the RV° ’ ts n t re u a B my p understand have. en ld u ev o ’t w n I o d y, I of first da e the do millions home that enon. Why ed to give m m in o m en er h et p n d dow the g they seemed ant to drive ft me holdin w le s n a ey h ic T er . gling on ience 10 Am a kettle jan camp exper te a h it w y ll into highwa , only to pu e uffel bag. th em , th m d o 10 the d in ro eh G, my rn on the the stove b VE MY DO WHY LEA night and tu strangers t a f o te si ch p n u m b some ca p with a to farm to slee and in line st y h W ?

TV? cabin to camp, in a smelly u’re going pposed to o y su if is , th n s ea a Im here at teeth? W 15 ay home, w st brush your e, is w er camp. Oth n? nds still. ostcard 15 be fu p a ts n ur stove sta re o a y p st y a m le t n hotel with I I even se e, give me a ying while m cr r s a fo w s I A w ho p and nice telling them jump into d great soa n ’d a s ey el th w g to in mp with plush it, hop I’ll set up ca ’t work. n d was writing n id a d , It ts e. ee b on sh come get m 20 cott when the tu the car and ghing it° is u o e.

R m . o st h t te o ro Ig rs°. no p got it after a Jacuzzi.

20 They the counselo e er w es without e m er co th en th d ey An urturing° th e were so n in m f o n o u w o T the m f us up on o p u ro g a verbial took und the pro ro a nizers s u t sa ent camp orga tainside, r developm unselors

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co ng thei encouragi nurturing randa porch ve icle tional veh ea t normal cr re V R do withou to g in av h it g in rough niences and conve comforts

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R EAD & R EACT

1. What is Craig Wilson’s idea of a perfect holiday?

2. What episode at his summer camp makes him no longer wish

to participate in any outdoor activities?

3. What other things doesn’t he like at summer camp?

4. a) What two ways of getting home early are suggested in the

text? b) Why does one work but not the other?

R EFLECT & S H A RE

Prepare questions 1, 2 and 3 individually. Then form groups for discussion in task number 4.

1. What do the adjectives mean? If necessary, check in the word

list. adventurous

enterprising

pleased

annoyed

enthusiastic

scared

bored

excited

sceptical

contented

frustrated

uninterested

daring

inactive

unwilling

disillusioned

open-minded

upset

dissatisfied

panic-stricken

2. How would you describe Craig Wilson as a kid and as an

3. What would be a camp counselor’s dream kid? Find five

adjectives in the list.

Example: Someone who is so pleased that they would like to return to the camp next summer.

4. Form groups. Share your answers in 2 and 3, and talk about

your choices and reasons. Do you all agree?

PP. 230–232 USEFUL PHRASES

ON YOUR OWN

adult? Use five suitable adjectives in the list and give reasons for your choice.

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WORD WORK

A.

Matching sentences

Match the sentences with the correct line or lines in the article.

What sentence or phrase in the article has more or less the same meaning?

1. Craig Wilson has come to the conclusion that this activity

is designed for adults.

2. Nothing could prevent his parents from making him go

to camp.

3. He had to wait for his turn to prepare for bed.

4. Maybe he would have achieved it if he had used his

imagination.

5. Staying in a small house seemed pointless to him.

6. He prefers accommodation with the right accessories both in

the bathroom and in the beds.

FOLLOW UP

What words are used in the article instead of 1. is designed 2. wait for his turn 3. use his imagination 4. small house 5. an accessory in the bathroom 6. an accessory in the bed

STUDY TIP

Word formation means that you change a word so that it becomes another part of speech (ordklass). You change for example a verb into an adjective, a verb into a noun (substantiv), or a noun into an adjective.

B.

Word formation – Adjectives

Find the corresponding adjectives to the following verbs. succeed

successful

create

…

understand

…

determine

…

invent

…

experience

…

poison

…

smell

…

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FOLLOW UP

Choose three of the adjectives and write sentences. Only one sentence is true. Let a friend guess which one.

Phrasal verbs are combinations of verbs with prepositions.

They are often difďŹ cult because even though you may know both the verb and the preposition, the meaning of the combination can be very different from the meanings of the two words used independently.

C.

STUDY TIP

Phrasal verbs

When driving you often come across phrasal verbs with pull.

Combine the phrasal verbs with suitable meanings from the box. pull away

As the lights changed, he pulled away.

pull into

They pulled into a campsite at night.

pull out

When he approached, a car suddenly pulled out from the side of the road.

pull over

The police car signalled to him to pull over.

pull up

The car pulled up at the lights.

drive out drive to the side of the road arrive at a place and stop start driving forwards slow down and stop

Cover the sentences above. Look only at the phrasal verb list, and make up your own new sentences.

ON YOUR OWN

FOLLOW UP MORE WORD WORK ON THE WEBSITE

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≤

FOCUS ON LISTENING

Getting Out Are you travelling across the world or typing away at your keyboard? Either way you are getting out on your own.

When Radio Blueprint meets Sophie Chapman, she is just finishing her first year in college – thousands of miles from her home town. Having left her native country behind her, she is now sharing her experience as an exchange student on her blog. Radio Blueprint meets her at her dorm in Sydney, Australia, and she talks about her first year in college and her decision to go public as a blogger.

Look at the words in the word list on p. 316. Then read through the questions before you listen.

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LIST EN & REACT

1. What activities did Sophie do herself? Write down the

appropriate letters.

A B C D E F G H I J K L M N O P

blogging going to a concert going to a party climbing a wall skateboarding jumping on a trampoline dressing up playing basketball looking at fireworks seeing a film working as a substitute teacher studying hard for tests hiking diving kite surfing playing in a band

2. Sophie wants to go to a concert, but doesn’t want to spend the

money to pay for the ticket. What happens?

3. What makes Sophie want to become a teacher?

4. What tips does Sophie have for future bloggers?

R EFLECT & S H A RE

1. Describe Sophie’s character supporting your description with 2. Sophie writes about cultural clashes in her blog. Have you ever

experienced any clashes or funny situations when travelling or meeting people from other countries?

ON YOUR OWN

details from the interview.

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Ø

FOCUS ON MUSIC

Don’t Let Me Get Me

by Pink

This is a short introduction to Pink, an American artist.

NAME:

Pink

REA L NAME: BORN:

Alecia Moore

lvania, USA 1979 in Doylestown, Pennsy hair colour, any way HER NICK NAME: not her

ORIGIN OF

CAREER AT 13:

hip-hop group backing vocalist for the local : Can’t Take Me Home BLE-PL ATINUM HIT ALBUM

TITL E OF HER DOU

“Moulin Rouge” “Lady Marmalade” in the film pire) t black one (when she is a vam FAV ORIT E WIG: a straigh

SOUNDT RACK PAR TICIPAT

ION:

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On her website Alecia Moore writes about herself in A Message from Pink:

“

People often say to me, “You seem so secure and strong and sure of yourself. How?” To this I laugh, and say “I’ve got you all fooled.” To a certain extent I am proud of myself for keeping hold of my integrity and taking risks and not completely conforming.

On the other hand, I am my own worst enemy, my own worst critic, and I am extremely hard on myself. I have fat days, ugly days, feeling worthless days, depressed days, etc. I allow myself 5 minutes to rip myself apart, and then I give myself the rest of the day to put me back together. So whatever works, go with it.

Listen to me, I’m such a preacher. Will someone tell me to shut up already????????!!!!!!!!

”

VIRTUAL REALITY FOR REAL

Read the lyrics of Don’t Let Me Get Me on page 26. Then read the questions and listen to the music.

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5

10

15

20

25

I never win 1st place, I don’t support the team I can’t take direction And my socks are never clean Teachers dated me My parents hated me I was always in a fight ’Cause I can’t do nothing right Everyday I fight a war against the mirror Can’t take the person staring back at me //I’m a hazard to myself Don’t let me get me I’m my own worst enemy It’s bad when you annoy yourself So irritating Don’t want be my friend no more I wanna be somebody else// LA told me You’ll be a pop star All you have to change Is everything you are Tired of being compared To damn Britney Spears She’s so pretty That just ain’t me So doctor, doctor won’t you please prescribe something A day in the life of someone else

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R EAD, LIST EN & REACT

1. There are certain things in Don’t Let Me Get Me that are in

accordance with what Pink writes in A message from Pink.

Give examples.

2. What words in the lyrics rhyme? Pair the rhymes together.

team are fight clean right dated hated enemy star me 3. Pick the best alternative.

I. “I” in the lyrics finds herself to be: a) attractive b) incompetent c) self-confident II. Asking a doctor to prescribe her “a day in the life of someone else” is a way of expressing: a) misery b) future studies c) religious faith

1. “I” in the lyrics is definitely feeling alone and “on her own”.

What might cause these feelings, do you think?

2. Give the woman in the song two recommendations to stop her

from being “a hazard” to herself.

3. Pink’s concert in Stockholm in October 2006, was described as

“aggressive power rock”. How would you describe Don’t Let Me Get Me to someone who hasn’t heard it?

4. What does music add to lyrics? Does it change your

experience? Discuss.

ON YOUR OWN

R EFLECT & S H A RE

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WRITING & SPEAKING S P EA K I N G 1 –

Talking about yourself and others

You are going to introduce a person to others.

1. Ask a classmate questions about the following topics:

• why he/she chose this study program • her/his favourite free-time activity • something s/he really hates doing • something s/he loves doing • something unusual s/he would like to do 2. Make notes of the answers to your questions.

3. Introduce your classmate to another pair. Try to speak for half

a minute.

Use some of these conversation linkers to give your talk more fluency: • Another very interesting side to X is …

• In addition to … X (is) also …

• Moving on to another side of X, …

• On the other hand, X …

• It might surprise/interest you to hear that X …

• Finally X’s ambition is to …

• One more thing needs to be said about X …

• Last but not least, X …

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SPEAKIN G 2 –

Cartoons

What do you think is happening?

Look at the cartoon strip. Decide on the correct order of the pictures and make up a story to go with it. Then work in pairs and share your suggestions.

A

B P. 230–232 USEFUL PHRASES

D

E

F

ON YOUR OWN

C

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STUDY TIP

To improve your writing, this book will show you how to organise different kinds of texts. Use the guidelines and ideas in Writer’s Workshop at the back of the book. Remember that well-organised writing is a pleasure for any reader – and good for your grades too!

W RI TI N G 1 –

Personal narrative

Struck by Lightning and A Voice in the Wilderness Cries Out are examples of personal narratives. A personal narrative is writing about what a particular experience meant to you. It could be about a marvellous holiday, about an important person, or simply about something that recently happened to you.

P. 242 PERSONAL NARRATIVE

P. 244 CHECKPOINTS FOR REVISING

Write a personal narrative about such an experience or person in your life. Remember to finish with a sentence or a couple of sentences that explain why this experience or person is so important to you.

W RI TI N G 2 –

E-mail or informal letter

Craig Wilson in A Voice in the Wilderness Cries Out sent his parents a postcard. Imagine that he wrote an e-mail or a letter to his parents instead.

Write this e-mail or letter.

Or P. 239 E-MAIL OR INFORMAL LETTER P. 241 CHECKPOINTS FOR REVISING

Imagine that today, some of his friends have asked him to join them for a week in the wilderness staying in a cabin or a tent.

What would Craig Wilson’s answer be?

Write the e-mail with his reply.

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This chapter deals with ways of showing how “all that glitters is not gold” in pictures and advertisement and how critical thinking makes us tough to fool!

VIRTUAL REALITY FOR REAL

ALL THAT GLITTERS

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shutter a part of a camera that opens for a very short time to let the picture in fraction a very small amount deceive fool anticipation a feeling of excitement because something good is going to happen crucial very important

CRITICAL THINKING IS CHARACTERIZED BY CAREFUL, EX ACT EVALUATION AND JUDGEMENT.

W

hen the first photograph was developed, mankind rejoiced: at last, the ultimate representation of reality! Because at that time, in the 19th century, photos did not lie. What you saw was the real thing, at least for that shutter° fraction° of a snapshot second.

Now we know this is not necessarily true. Computerized photoshops have taught us how to manipulate an authentic photograph. Top model magazines display bodies retouched according to latest fashion and it’s hard to tell a fake photo from an authentic one. It’s just as hard not to be affected by what we see.

Optic artists deceive° our anticipation° in the same way. Take a close look at artist Oscar Reuterswärd’s picture below. In what ways does it try to trick us?

Images, or our perception of images, are crucial° to our understanding of the world – so crucial that it, of course, involves money.

Advertisers know this and we know advertisers know this. Still, companies spend billions of dollars each year to convey their messages. And still, we consumers seem to swallow the bait.

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Magic Image

VIRTUAL REALITY FOR REAL

In 3D images, there is more than meets the eye – at least at first glance. Discovering the secret behind computer-generated 3D images is a bit like riding a bicycle: some people get the hang of it right away, others have to work at it for quite some time. Once you know how to do it, an entirely new experience will reveal itself – and develop before you, like an instant photo!

When the first 3D images came, in the 1960’s, they were made up of dots and were originally used by doctors who wanted to study how human eyes work. Soon, however, an entirely new art form was developed.

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How to see it

1. Hold the Magic Eye© image so that it touches your nose. (Ignore those who make stupid comments about you.) Let your eyes relax and stare off into space as if looking through the image – not at it.

2. When you are relaxed and not crossing your eyes, move the page slowly away from your face. Keep looking through the page. Don’t focus on the page but let the page come into focus as you move it away.

3. Stop at a comfortable reading distance and keep staring. The most difficult moment is when something starts to “come in”, because at that moment you’ll instinctively try to look at the page rather then looking through it.

4. If you look at it – start all over again!

REA D & REACT

What object do you see in the 3D Magic Eye© picture above?

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Tricks in Pics

;

from Little Book of Hollywood Clichés by Roger Ebert

T

5

animated a movie made by drawing a series of pictures subconsciously feelings you that you don't always realize you have cart a vehicle pulled by a horse recurring happening repeatedly

ALL THAT GLITTERS

10

he tricks in pictures are obvious in film. Apart from animated° wonders, there are some typical dramatic techniques which directors use in order to control our conscious or subconscious° anticipation. Are these techniques just weary clichés, or are they in fact inevitable tools for good story-telling?

Have you noticed, for example, that every time there’s a chase scene in an exotic country, a fruit cart° is overturned? Or whenever the hero knocks out a Nazi guard and puts on his uniform, the uniform is a perfect fit! Haven’t you seen plots that would be over in five minutes, if all of the characters weren’t idiots? Plots like these are clichés, or in other words, recurring° situations which we learn to see and even predict. It is as if all movie makers have attended the same school in Hollywood. You can probably add a few clichés to the following list yourself:

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peddler street seller inhaler a small plastic tube with medicine that you breathe in cartridge a small tube with explosives and a bullet for a gun

“TURN IT ON” RULE

Movie characters have an amazing ability to turn on the TV precisely at the moment when a newscaster begins a report on something directly related to them.

“FR UIT CA RT !”

5

This is an outcry used by frequent film fans during any chase scene involving foreign or ethnic people, showing their certainty that a fruit cart will be overturned during the chase, and an angry peddler° will run into the middle of the street to shake his fist at the hero’s departing vehicle. (Of all clichés this is maybe the most popular.)

PLANTATION 10

15

If someone is cleaning a gun or simply glancing at a weapon in the first scene, it must be used to kill before the movie is over. Or if a mother says: “Don’t forget your inhaler°!” to her asthmatic daughter on her way to school, the daughter will be in danger for exactly this reason when the plot reaches its peak.

And we know what the scriptwriter has in mind when one of his characters says: ”Anyone who didn’t bring lifejackets on a boat trip like this is a moron.” We know, don’t we?

ERE R CAL LIN G OU T FOR THE MU RD

Whenever someone is alone at home at night and she hears a noise in the house and asks aloud “Billy? Is that you?” – it never is.

“EMPTY CARTRIDGE°” RULE 20

Whenever a gun in the hand of the bad guy or the good guy has no bullets, he/she looks at the weapon for a second, before throwing it away. It never occurs to either of them that it might come in handy, reloaded in the next fight.

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junction crossroads rag a piece of cloth

JANET LEIGH IN PSYCHO, 1960.

DIRECTOR ALFRED HICHCOCK INSISTED THAT AUDIENCES SHOULD ONLY BE ALLOWED TO SEE HIS FILM FROM THE START SO AS NOT TO RUIN THE SURPRISE. THIS WAS WHEN PEOPLE USED TO COME IN AT ANY

AUTOMATICALLY ARRIVING CARS

5

Whenever cars in a chase go through a four-way junction°, unrelated cars must appear from each direction and skid into the center. These cars may either stop unharmed or crash into each other at the center, upon which all the drivers will get out and shake fists at each other. No cars actually involved in the chase are ever involved in the crash.

BARTENDER GETTING READY

All movie bartenders, when first seen, are wiping the inside of a glass with a rag°.

ALL THAT GLITTERS

POINT DURING A MOVIE.

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motionless not moving undetected not seen

THE BIG NOD

The Big Nod comes after the Last Word. After a character is fatally wounded, he first lies motionless° and recites an incredibly meaningful statement. Then his head nods to one side.

MUMBLING NIGHT WATCHMAN

5

10

Any scene involving the good guy breaking into an office at night will inevitably include a foolish night watchman, whose only purpose is to create an element of danger in an otherwise boring event. Actions performed by the watchman usually include shining a flashlight through the window, rattling doorknobs, watching security monitors, etc., all done in a manner that allows the good guy to continue undetected° until just after he discovers the needed information or object. He will then flee the scene with the watchman going after him.

FEMALE SHOOT AND CRY RULE

15

Except in movies where the lead is a tough female, any female character who shoots the bad guy for any reason will then drop the gun, kneel down, and start sobbing.

TH E FIV E- MI NU TE CL AS S

Even the most stimulating sessions in class are invariably interrupted by the bell.

“EH?”

20

No matter how well a foreigner speaks English, he will never be able to master the word “yes”. Instead he is always using his own language for this word.

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R EFLECT & S H A RE

1. Can you place any of the clichés above in a specific movie?

2. Do you know of any other clichés from movies you have seen?

ACT IT OUT!

Choose one cliché and act it out with a friend or two. Let the rest of the group guess which one you are performing.

FUR THER S TU D I ES

ALL THAT GLITTERS

Search for clichés in films you have seen.What situations are just too typical? When is the plot predictable? Bring a film to class next week, show the scene and let the rest of the class figure out the cliché you have in mind.

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WORD WORK

A.

Adding words

Read the sentences and fill in the missing words. Change the form of the words where necessary. attend

kneel

fist

peak

glance

plot

inevitably

predict

interrupt

sob

junction

wipe

Hollywood clichés make it easy for viewers to … situations beforehand.

2. It is as if all movie makers have … the same school.

3. If a character is … at a gun in the first scene, someone must be killed with that gun during the movie.

4. A planted object is always set to return when the … of the movie reaches its … .

5. When a car is being chased through a four-way … , other cars always happen to appear from all directions and skid into the center.

6. The drivers get out and shake their … at each other.

7. In bars, the bartenders are always … the inside of a glass with a rag.

8. Office break-ins … include a foolish night watchman.

9. A female character who shoots the bad guy drops the gun, … down and starts … .

10. Classes are always … by the bell.

1.

FOLLOW UP

Cover the list of words at the top, and read the sentences again to yourself or to a partner. Can you remember all the words now?

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BILDLEVERANTÖRER

Omslagsfoto Pelle Kronestedt/Bildhuset/Scanpix s. s. s. s. s. s. s. s. s. s. s.

s. s. s. s. s. s. s.

s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s.

7 8 11 12 17 18 22 24 25 31 32

Pete Starman/Photonica/Johnér bildbyrå Ron Fehling/Masterfile/IBL Bildbyrå Allan Davey/Masterfile/IBL Bildbyrå Dirk Anschutz/Nonstock/Scanpix Index Stock Imagery/Scanpix J H Engström/Bildhuset/Scanpix Kareem Black/Photonica/Johnér bildbyrå Brian Rasic/Rex/IBL Bildbyrå Fredrik Funck/Scanpix John Hicks/Scanpix 326 gk gk © Oscar Reuterswärd/BUS 2007. Per-Anders Allsten/Moderna Museet 33 Roy Morsch/Age fotostock/Scanpix 34 Magic Eye|® 3 D Image 35 Charles Sykes/IBL Bildbyrå 37 Filmbolag/Scanpix 42 Chris Skarbon/Rex/IBL Bildbyrå 45 Caterina Murino och Daniel Craig i Casino Royal. Stills/Gamma/IBL Bildbyrå 46 ö Evangeline Lilly, Jorge Garcia, Matthew Fox, Josh Holloway och Mario Perez i LOST. ©ABC/Everett Collection/IBL bildbyrå 46 n Saab/General Motors 47 Friends. Everett Collection/IBL Bildbyrå 51 AP/Nike/Scanpix 52 Markku Ulander/Lehtikuva/Scanpix 55 Photodisc OS 13 59 Trinette Reed/Nonstock/Scanpix 60 Kjell Johansson/Bildhuset/Scanpix 63 Miriam Klyvare/Tiofoto/NordicPhotos 66 Antony and Cleopatra. Lebrecht Music & Arts Photo Library/IBL Bildbyrå 68 Angela´s Ashes. Stills/IBL Bildbyrå 70 Gareth Fuller/Scanpix 72 Photodisc Signature Series 26 76 Sam Harrel/AP Photo 77 Magnus Elander/Naturbild/Johnér bildbyrå 78 Al Grillo/AP/Scanpix 79 Staffan Widstrand/Naturbild/Johnér bildbyrå 85 Philip James Corwin/Corbis/Scanpix 86 Carola Koserowsky/Age fotostock/ Scanpix 88–89 Chad Ehlers/Tiofoto/NordicPhotos

s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s. s.

s. s. s. s. s. s. s. s. s. s.

91 93 96 101 103 107 115 116 130,

Photodisc Volume 48 Chad Johnston/Masterfile/IBL Bildbyrå Scanpix Scanpix Ib Steen Olsen/Scanpix Mikhail Fomichev/ITAR-TASS/Scanpix George Shelley/Age fotostock/Scanpix Jim Cooper/AP/Scanpix 131 Michele Asselin/Corbis Outline/ Scanpix 136 Scott Olson/Getty Images/All Over Press 141 Stockbyte V 01 (1,2,3), Photodisc V 71 (4) 145 Raul Ibanez/Age fotostock/Scanpix 146 Paul Grover/Rex Features IBL Bildbyrå 149 Mark Tomalty/Masterfile/IBL Bildbyrå 155 AP/Scanpix 156 Claes Grundsten/Bildhuset/Scanpix 159 David Muscroft/Age fotostock/Scanpix 163 Ausoeser/Zefa/Scanpix 167 Estelle Klawittter/Zefa/Scanpix 170–171 Max Payne. Pictures used with permission from Remedy Entertainment Ltd and 3DRealms Entertainment Ltd. ©Remedy Entertainment Ltd. 173 Sade Kahra/Scanpix 180 Trons/Scanpix 185 Simon DesRochers/Masterfile/IBL Bildbyrå 191 AP/Scanpix 192 John Smock/AP/Scanpix 196 American History X. EPA/AFP/New Line films/Scanpix 199 American History X. IBL Bildbyrå 205 A Time to Kill. Stills/IBL Bildbyrå 211ö Jonas Lindkvist/Scanpix 211n Sven-Erik Sjöberg/Scanpix

Tecknare s. 29 Johan Wanloo s. 120–125 Craig Thompson

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Engelska A 5 för gymnasiets högskoleförberedande program och komvux

Blueprint A Version 2.0 består av • Allt-i-ett-bok • Facit • Lärar-cd • Lärarhandledning inkl. cd-rom med prov Till Blueprint A Version 2.0 finns också en interaktiv webb med självrättande färdighetsträning, ljudfiler till hela boken, film, casepedagogik och guidad Internetanvändning som kompletterar boken. Gå in på www.liber.se/blueprintA för att testa en demo.

Träna glosor gratis på www.liber.se/glosmaskin.

Christer Lundfall • Ralf Nyström • Jeanette Clayton

Den omtyckta Blueprint är nu uppgraderad. Version 2.0 är lättare att använda, den är aktuell och innehåller det senaste i engelska för gymnasiet.

Kärnan i Blueprint är densamma som tidigare. Engelskan ska vara ett verktyg och arbetssättet närmar sig svenskundervisningen.

BLUEPRINT A

BLUEPRINT A – VERSION 2.0

BLUEPRINT A ENGELSKA 5

VERSION 2.0

Christer Lundfall Ralf Nyström Jeanette Clayton

Best.nr 47-08055-7 Tryck.nr 47-08055-7-04

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