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Engelska B (steg 6) för gymnasiets studieförberedande program och komvux

Blueprint B Version 2.0 består av • Allt-i-ett-bok • Interaktiv webb • Facit • Lärar-cd • Lärarhandledning inkl. cd-rom med prov I den interaktiva webben ﬁnns självrättande färdighetsträning och ljudﬁler till alla bokens texter och hörövningar, med mera. Träna bokens alla glosor gratis på www.liber.se/glosmaskin.

www.liber.se

Lundfall • Nyström • röhlk cotting • Clayton

Den omtyckta Blueprint B är nu uppgraderad. Version 2.0 är lättare att använda tack vare ny layout, nya mönstertexter och frekvensmarkerad ordlista. Kärnan i Blueprint B är densamma som tidigare. Engelskan ska vara ett verktyg och arbetssättet närmar sig svenskundervisningens. De muntliga och skriftliga färdigheterna lyfts fram genom Writer’s Workshop och Speaker’s Corner. Blueprint B har fokus på litteratur och på skillnaden mellan formell och informell engelska.

BLUEPRINT B

BLUEPRINT B – VERSION 2.0

BLUEPRINT B VERSION 2.0

Christer Lundfall Ralf Nyström Best nr 47-08196-7 Tryck nr 47-08196-7

nadine röhlk cotting Jeanette Clayton Liber

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may i feel said he E.E. Cummings 7 You Oughta Know Alanis Morissette 8 Meet Mark Helen Fielding [from Bridget Jones’s Diary] 11 Meeting Mr Darcy Jane Austen [from Pride and Prejudice] 20 Wherefore Art Thou Romeo? William Shakespeare [from Romeo and Juliet] 30 Love’s Not Time’s Fool William Shakespeare [from Sonnets] 37 The Right Chemistry Anastasia Toufexis [from TIME] 39

FOCUS ON MUSIC:

CONTENTS

Love Is in the Air 7

49 SPEAKING 1 – Informative speech 49 SPEAKING 2 – Talk show 49 WRITING 1 – Discussion essay 49 WRITING 2 – Literary analysis 49 WRITING & SPEAKING

Reality Bites 51 Funeral Blues W.H. Auden 51 No Place to Call Home Lee Stringer [from Grand Central Winter] 53 Life in the Underworld Charles Dickens [from Oliver Twist] 60 FOCUS ON MUSIC: Soldier’s Things Tom Waits 70 The Seeds of Evil Michael Medved [from The Sunday Times] 73 FOCUS ON LISTENING: Fear and Consumption 78 81 – Argumentative speech 81 SPEAKING 2 – Team debate 81 WRITING 1 – Argumentative essay 82 WRITING 2 – Discussion essay 82 WRITING & SPEAKING SPEAKING 1

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How Far Would You Go? 83 Résumé Dorothy Parker 83 Killing on Orders D.G. Myers [from Social Psychology] 84 How Far Are We Unwilling to Go? Chris Anderson 92 Earth Forever! T.C. Boyle [from A Friend of the Earth] 101 Dropping Out Carol Shields [from Unless] 111 FOCUS ON LISTENING: Protesting or Praying 119 121 – Talk show 121 SPEAKING 2 – Argumentative speech 121 WRITING 1 – Discussion essay 122 WRITING 2 – Reportage 122 WRITING & SPEAKING SPEAKING 1

Culture Clashes 123 The Schooner Flight Derek Walcott 123 FOCUS ON LISTENING: The Poor Savage Daniel Defoe [from Robinson Crusoe] 124 When Cultures Clash Chris Anderson 127 The Australians Who Are Outcasts in Their Own Land Barbara McMahon [from The Observer] 130 Curled or Straight? Zadie Smith [from White Teeth] 136 149 SPEAKING 1 – Team debate 149 SPEAKING 2 – Argumentative speech 149 WRITING 1 – Literary analysis 150 WRITING 2 – Argumentative essay 150 WRITING & SPEAKING

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9 to 5 151 Senior Sub-Editor 151 FOCUS ON MUSIC: 9 to 5 Dolly Parton 152 Little Miss Fix-It Marian Keyes [from Sushi for Beginners] 154 FOCUS ON LISTENING: Work Places 164 FOCUS ON LISTENING: Taking Instructions 166 169 SPEAKING 1 – Interview 169 SPEAKING 2 – Team debate 169 WRITING 1 – Cover letter 172 WRITING 2 – CV 172 WRITING & SPEAKING

Thrill and Suspense 173 Frankenstein Mary Shelley 173 A Crime in the Neighborhood Suzanne Berne 174 Pressured by Time Stephen King [from Misery] 182 Riding the Whip Robin Hemley 191 FOCUS ON LISTENING: The Black Cat Edgar Allan Poe 198 200 SPEAKING 1 – Planting 200 SPEAKING 2 – Gaps 200 WRITING 1 – Short story 200 WRITING 2 – Literary analysis 200 WRITING & SPEAKING

Speaker’s Corner 201 Writer’s Workshop 221

Focus on Language 261 Word List 300 5

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Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffi n, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message He Is Dead, Put crĂŞpe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and my West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last forever: I was wrong. The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good. W.H. Auden, Funeral Blues

REALITY BITES 51

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Grand Central Station in New York City.

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No Place to Call Home

;

From Grand Central Winter by Lee Stringer

A great deal has been written on the topic of homelessness, but it is hard to find legible accounts by the homeless themselves. Lee Stringer is one exception. When he decided to use his pencil for writing instead of a tool for his crack pipe, Stringer’s life and “home” in the narrow, crawl space under Grand Central Station in New York City started to change. Here is how it came about.

spigot outdoor tap baste sweat blast enjoyable and exciting experience screen filter stem narrow tube of a pipe resin crack remains pipe up prepare a pipe to smoke take a hit get high

REALITY BITES

hat happened was I was digging around in my hole – there’s this long, narrow, crawl space in Grand Central’s lower regions, of which few people are aware and into which I moved some time ago. It is strung with lights and there is a water spigot° just outside the cubbyhole through which I enter. It’s on the chilly side in winter, and I baste° down there in summer, but it is, as they say, home. I have filled this place with blankets and books and have fortified it with enough cardboard baffles to hold any rats at bay (the secret being, of course, to never bring food down here. It’s the food that attracts them). So, at the end of the day I come down here to polish off that last, lonely blast.° Or just to sleep it off. But as I said, I was digging around in this hole – lying flat on my back, reaching back and under the old blankets, newspapers, and clothes that I’ve amassed over time and that keep me insulated from the concrete floor, trying to find some small, dowellike instrument with which to push the screens° from one end of my stem° to the other, so that I could smoke the remaining resin° caked up in the thing. For those of you who have not had the pleasure, I point out that when you are piping up°, the first thing to go is your patience. And I’m digging around under this mess, cursing and muttering under my breath like an old wino on a three-day drunk, when my fingers finally wrap around some sort of smooth, straight stick. I pull it out and it’s a pencil and it does the trick. I push my screens and take a hit° and have a pleasurable half hour of sweaty,

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scratch money go cop buy film very thin layer residue what is left

trembling panic that at any second someone or something is going to jump out of the darkness – I get much too paranoid to smoke with the lights on – and stomp the living shit out of me or something. That’s the great thing about being a veteran crackhead. Always a lot of fun. Anyway, the point is, I start carrying this pencil around with me because I really hate like hell to be caught without something to push with and then have to go searching or digging around like I was doing when I found the thing. The good thing about carrying a pencil is that it’s a pencil. And if I get stopped and searched for any reason, it’s just a pencil. Of course I carry my stem around too. And there’s no doubt about what that’s for. But, hey, I’m not looking to strain my cerebral cortex on the subject. It’s all I can do just to hustle up enough scratch° every day and go cop° something decent – without getting beat, arrested, or shot – so I can have a lovely time cowering in the dark for a couple of hours. So I have this pencil with me all the time and then one day I’m sitting there in my hole with nothing to smoke and nothing to do and I pull the pencil out just to look at the film° of residue° stuck to the sides – you do that sort of thing when you don’t have any shit – and it dawns on me that it’s a pencil. I mean it’s got a lead in it and all, and you can write with the thing. So now I’m at it again. Digging around in my hole. Because I know there’s an old composition book down there somewhere and I figure maybe I can distract myself for a little while by writing something. The things a person will do when he’s not smoking. The funny thing is, I get into it. I mean really get into it. I start off just writing about a friend of mine. Just describing his cluttered apartment. How I kind of like the clutter. How it gives the place a lived-in look. How you can just about read his life by looking around. So I’m writing away, and the more I write, the easier it gets. And the easier it gets, the better the writing gets, until it’s like I’m just taking dictation.

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REALITY BITES

Pretty soon I forget all about hustling and getting a hit. I’m scribbling like a maniac; heart pumping, adrenaline rushing, hands trembling. I’m so excited I almost crap on myself. It’s just like taking a hit. Before I know it, I have a whole story. I go to read the thing and it’s a mess. The pages are all out of order. Parts are scratched out. Other parts are written sideways in the margins. But what I can read looks pretty good. Even great in parts. By the time I go back and carefully rewrite the thing, it’s too late at night for me to bother going out, which is a remarkable thing for me because I don’t think there’s been a day since I started that I have gone without at least one hit. So I read the story over and over. Fix a few things. And what I end up with reads like Tennessee Williams (I have

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put down criticize

a paperback with all his short stories in it) in the way it kind of comes in through the side door. I mean, Williams will start off talking about, say, what it smells like to work in a shoe factory and before you know it, he’s going on about wanting to kill his father or something like that. That’s how my story went. It started with my friend’s house and then I have a guy sitting there with him who wants to get some pills from him so he can take himself out before the AIDS virus gets him – you see, he is HIV positive – and when he gets the pills he goes over to the park to just lie down and fade away on the grass. Only he feels the need to apologize to the world because he has to die in public. And someone will have to come along and pick up his sorry, dead ass and all. But he’s homeless, there’s no place for him to go. I guess they’ll never make a musical out of it. But the thing is – and this is what gets me – when I read the story, I can feel this guy’s pain! I mean, I haven’t been able to feel much of anything in years. And there I am, sitting down there under Grand Central, reading this thing scribbled in an old composition book, and I’m practically in tears. The next day I take the story over to my friend’s house and he reads it. All I’m expecting from him is a sarcastic remark because this guy is one of those snob alcoholics. He doesn’t approve of anything. Ever. Least of all me. But he just puts it down quietly when he finishes and gives me the slightest nod. Then he says, ‘Do you love me?’ I know why he asks this. Because in the story the two guys are friends but they would never admit it. They just hang around together putting each other down° all the time – a lot like my friend and me – and in the end the one guy is sorry because he’ll never have the chance to tell his buddy that he loves him – in a normal sort of way, I mean – and that he’ll miss him. He never realizes this until he’s dying.

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get to affect emotionally kick up behave emotionally

REALITY BITES

The only real difference between the story and me and my friend, come to think of it, is that I’m not HIV-positive and I’m not dying. But my friend is. And when he asks me whether or not I love him, it gets to° me because I would never have thought he gave a shit one way or the other. So I go over to him and hug him, and that weepy shit starts kicking up° again. What can I tell you? It was one of those moments. All because I sat in my hole and wrote this little story. Next thing you know, I’m up at the Street News office with it, asking if anybody’d be interested in putting it in the paper and – sure enough – damned if I don’t open up the next issue and there’s my story! That’s how I got my first thing published in Street News. I think I called it ‘No Place to Call Home.’ A couple of months later I had a regular column in there. And – one thing after the other – I had the writing bug. After that there were four things I did every day. Hustle up money, cop some stuff, beam up, and write. And in the end I wound up dropping the other three.

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REA D & REACT

1. Describe the narrator’s “cubbyhole”. 2. The narrator is “digging around” in his hole, losing his

patience. Why? 3. Stringer finally managed to give up his addiction to crack

cocaine. What saved him?

REF LECT & S H A RE

1. Throughout his book Stringer makes ironic remarks about

his situation. “That’s the great thing about being a veteran crackhead,” for example. What other examples of irony do you find? 2. “Do you love me?” Stringer’s friend asks when he has read the

story. Why this question? 3. By reading the text, how can we tell Lee Stringer is a sensitive

person?

WORD WORK

Synonyms

What synonyms for the italicized words are used in the text? 1. The student said he was sorry for interrupting the teacher. 2. He did not like the plan for the next class project. 3. Lee Stringer amused himself by writing stories. 4. The starving woman slowly became weaker and weaker. 5. There was a layer of oil on the water. 6. The artists staged their performance for all to see. 7. She could keep up with him without tiring herself. 8. He finished the meeting by thanking the participants.

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Informal and formal English

If Lee Stringer’s story were written as a report or an article, the audience would expect a formal level of English (see pp. 253–254). Rewrite the sentences changing the italicized words and expressions into formal ones from the box. Sometimes you must change the form and add a word or two to make them fit the context. buy

euphoria

enjoy

be emotional

cannot contain oneself

wretch

raise

arrive

terrify

corpse

perspire

smoke (crack)

approach

money

bother

ﬁnish

upset

collect

1. Lee Stringer bastes in his cubbyhole in the summer heat. 2. At the end of the day he returns to a) polish off that last, lonely

b) blast. 3. Mostly he a) takes a hit, and has a pleasurable half hour of

panic that something is going to jump out of the darkness and b) stomp the living shit out of him. 4. His main daytime occupation is to a) hustle up enough

b) scratch every day to c) go cop something decent so that he can have a lovely time. 5. When Stringer starts writing, he gets into it. 7. He worries that his character has to die in public, and someone

will have to a) come along and b) pick up his c) dead ass. 8. When Stringer’s friend asks him whether or not he loves him, it

a) gets to Stringer because he never thought his friend b) gave a shit one way or the other. 9. Stringer a) goes over to him and hugs him, and that b) weepy

shit starts c) kicking up.

REALITY BITES

6. He is so excited that he almost loses his grip.

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FOCUS ON MUSIC

Soldier’s Things by Tom Waits

“I like a beautiful song that tells you terrible things,” American singer-songwriter Tom Waits (1949–) once said. His voice sounds as though it has been “run over with a car”, according to one admirer. To others it contains a mixture of American whiskey and cigarettes. But, according to one of Tom Waits’ most famous songs, “the piano has been drinking – not me”. As an actor Tom Waits has performed in several movies. His characters are mostly outsiders, loners. They are living in the margins of society, just like the people he writes songs about. When advertising companies have used these songs without permission, Waits has filed lawsuits against them, and sometimes donated his compensation to charity. Look at the words in the word list on p. 306. Then read through the questions on p. 72 before you listen.

The words “A tinker, a tailor” refer to a children’s rhyme about: “Who will I marry?” It goes like this: Tinker, tailor, soldier, sailor, rich man, poor man, beggar man, thief!

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LI S TEN & REACT

1. What is this song about? What is the setting? 2. The garage sale holder is anxious to get a good sale. Which

lines or phrases in the song point to this?

REF LECT & S H A RE

1. It is not clear who the narrator is in the song. Who do you

think it is, saying â&#x20AC;&#x153;this one is for meâ&#x20AC;?? 2. Imagine that the narrator is the soldier himself. Why would he

sell off everything, even his medals for bravery? 3. If you were to hold a garage sale with your own stuff on

display, which of your belongings would tell the story of your life?

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Writing Activities Discussion Essay Many assignments at school and university ask you to explain and discuss something, for example how advertising and commercials affect you and society, or the role of temptations in your life. When you explain something, you need to use specific details or examples to clarify and support your main idea. This kind of essay is often also called “the five-paragraph essay” because it usually contains five paragraphs: an introduction, three body paragraphs and a conclusion. 1. The introduction is the fi rst paragraph of the essay. The function is: • to introduce the subject to the reader in an interesting and catchy way • to give some background information about the subject • to state the main idea or focus of the essay in a thesis statement which will govern the body paragraphs. 2. In the body paragraphs, make sure you show solid support for the points you make by describing, explaining and illustrating so that the readers will think you are worth ‘listening to’. Let the three paragraphs deal with three different aspects of the subject. Let each paragraph explain or discuss one aspect using specific details and examples to clarify and support your thesis. 3. Since you are discussing the topic in your essay, it is important to bring up aspects of the issue from different sides and angles in your body paragraphs, even if you might fi nd yourself leaning towards a particular view as the essay progresses. You may well fi nd you need more than the standard three body paragraphs, in order to give fair cover of different views and aspects.

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4. At the end, the conclusion rounds off the essay in one of the following ways: • by briefly summarizing the main ideas of the essay • by making recommendations about ideas discussed in the essay • by suggesting a solution to the problem discussed in the essay • by offering a personal reflection that grows logically out of the body paragraphs.

Discussing different aspects

Discussing problem-solution

Introduction Thesis states the aspects you are going to discuss Body paragraphs Aspect 1 Aspect 2 Aspect 3 Conclusion

Introduction Thesis states the problem and possible solutions Body paragraphs Solution 1 Solution 2 Solution 3 Conclusion

Discussing cause-effect

Introduction Thesis states the cause(s) and the effect(s) Body paragraphs Cause or effect 1 Cause or effect 2 Cause or effect 3 Conclusion

WRITER S WORKSHOP

There are three main types of discussion essay:

5. Citations. Indicate all the sources, such as newspapers, magazines, books, Internet pages, from which you have cited facts, ideas or passages. Show them both in the text and in the list of references at the end. (See pp. 255–256)

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headline

introduction

thesis statement

body paragraphs: aspect 1

Is Equality Impossible? Swedes take pride in being one of the most equal nations in the world. We have all been taught that men and women have the same rights and that both men and women are able to pursue a career and do the washing. Therefore, someone who claims that there are important differences in the male and female brains, and that feminism is incompatible with biology, will be heavily criticized. Such controversial ideas are introduced by neurochemistry professor Annica Dahlström in her book Gender is in the Brain, which was presented by Agnes Wold in the national newspaper Dagens Nyheter. The question is whether feminism and equality are actually impossible, and if there is enough scientific evidence to support it. One of Dahlström’s main ideas is that male and female brains are different in structure and function. According to her, men are smarter theoretically (mathematics etc.), whereas women are more socially gifted (oral communication). In addition, female brains have more connections between the two brain halves, resulting in women having a greater ability to do many things simultaneously. However, it seems there is little scientific proof of this. Wold writes that recent research shows only minor or no differences in the part of the brain that connects the two brain halves. The only major difference seems to be in certain areas of the hypothalamus depending on gender identity and sexual orientation.

CAPITAL LETTERS as fi rst letter of all the important words catches the reader’s attention logical organizer to show consequences

gives background information citation states main idea and governs all the body paragraphs citation

logical organizer to show logical order logical organizer to show contrasting or opposing citation

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Linking Words (transitions) and Logical Organizers – words that join or bridge gaps between sentences and paragraphs HEG §200–208, MEG §7.1–7.3

CONTRAST AND ALTERNATIVE

I stället för att alltid uttrycka motsats eller alternativ med but ﬁnns det många andra konjunktioner att välja bland för att variera meningsbyggnaden. Although (fast, fastän), even though (även om), much as (fastän, även om), still, yet (ändå, likväl) Still och yet inleder alltid en mening och följs av ett komma.

A. Rewrite each sentence four times using each of the linking words above (alternating between the last two) 1. I agree with him on the whole, but I think he is wrong on several detail points. 2. Vikram has lived for years in London, but he is not a British citizen. 3. The reviews were very negative, but the film was a box office success. Despite, in spite of (trots)

Despite och in spite of måste följas av substantiv eller ing-form.

Despite getting a sizeable wage rise, the employees went on strike. Despite a sizeable wage rise, the employees went on strike. She married him in spite of the fact that he treated her badly. B. Rewrite the sentences using either of the two linking words. Alternate, so as to practise both of them 1. Barry takes care of his baby daughter, although he works full time as a manager. 2. Although we paid extra for the view, we got a room facing the back yard. 3. Although he achieved a personal best in the race, Robert did not win. 4. People go on shopping, although prices go up. 268

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ACKNOWLEDGEMENTS

Every effort has been made to make this list of copyright holders complete as well as correct and any necessary amendments are invited. We are grateful to the following parties for permission to make use of copyright material.

“Dropping Out” from Unless by Carol Shields. Reprinted by permission of HarperCollins Publishers Ltd. © Carol Shields 2002 “The Schooner Flight” by Derek Walcott. Tryckt med tillstånd av Leonhardt & Høier Literary Agency aps, Köpenhamn

“may i feel said he” is reprinted from Complete Poems 1904–1962, by E. E. Cummings, edited by George J. Firmage, by permission of W.W. Norton & Company. © 1991 by the Trustees for the E.E. Cummings Trust and George James Firmage.

“The Australians Who Are Outcasts in Their Own Land” by Barbara McMahon Wadeye, Northern Territory, 24 June 2007 from The Observer. Copyright Guardian News & Media Ltd 2007.

“Meet Mark” from Bridget Jones’s Diary by Helen Fielding. Used by permission of Macmillan, London, UK.

“Curled or Straight” from White Teeth by Zadie Smith. Hamish Hamilton/The Penguin Group, 2000. Used by permission of A P Watt Ltd on behalf of Zadie Smith.

“Funeral Blues/Twelve Songs IX” by W.H. Auden, from Collected Poems by W.H. Auden. Published by Faber and Faber Ltd. Used by permission of Faber and Faber Ltd.

“A Crime in the Neighborhood” by Suzanne Berne. Algonquin Books of Chapel Hill, a division of Workman Publishing 1997.

“No Place to Call Home” from Grand Central Winter – Stories from the Street by Lee Stringer. Seven Stories Press, 1998.

“Pressured by Time” from Misery by Stephen King. Hodder & Stoughton Beneral PUB, 1987. Used by permission of Licht & Burr Literary Agency, Köpenhamn.

“The Seeds of Evil Sown on Our Screens” by Michael Medved. The Sunday Times Nov 28, 1993. “Résumé”, copyright 1926, 1928, renewed 1954, © 1956 by Dorothy Parker, from The Portable Dorothy Parker by Dorothy Parker, edited by Brendan Gill. Used by permission of Viking Penguin, a division of Penguin Putnam Inc. “Killing on Orders” by D. Myers from Social Psychology. Published by Mc Graw-Hill Education. Reprinted with permission of the McGraw-Hill Companies, New York.

“Riding the Whip” by Robin Hemley. Originally published in ACM. © Robin Hemley. “The Black Cat” by E.A. Poe. From Design for Drama. Short Plays from American Literature by Helaine Michael-Klein. English Language Programs Division, Bureau of Educational and Cultural Affairs, United States Information Agency, Washington, D.C., 1985.

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BILDLEVERANTÖRER

Omslagsfoto: Lottie Davies/Photonica/Getty Images Foto s. 7 s. 8 s. 11 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.

Lena Johansson/Nordicphotos Robin Utrecht/EPA/Scanpix ”Bridget Jones´s Diary”, Colin Firth. Miramax/Everett collection/IBL Bildbyrå 14 Universal Pictures/Everett Collection/IBL Bildbyrå 21 Everett Collection/IBL Bildbyrå 23, 26 Focus Features/Everett Collection/IBL Bildbyrå 30, 33 20th Century Fox/Everett Collection/ IBL Bildbyrå 34 Photodisc OS 13 37 Amy Neunsinger/Botanica/Scanpix 38 John de Critz, the Elder. Bridgeman Art Library/IBL Bildbyrå 41 Photodisc V 9 42 Everett Collection/IBL Bildbyrå 43 Photodisc V 29 44 Photodisc V 46 51 Thure Wikberg/Scanpix 52 Spencer Platt/AFP/Scanpix 55 Thomas Hoepker/Magnum Photos/IBL Bildbyrå 57 Brendan Smialowski/AFP/Sanpix 61 Heritage Images/IBL Bildbyrå 63 Columbia/Everett Collection/IBL Bildbyrå 71 Stefan Hyttfors/Scanpix 75 Michael Mahovlich/Masterfile/Scanpix 79 ö David Greedy/AFP/Scanpix 79 n Jose Juarez/AP/Scanpix 83 Kieran Scott/The Image Bank/Getty Images 84 Photodisc V 29 87 Randy Jolly/Corbis/Scanpix 89 Keystone/IBL Bildbyrå 93, 95 Buena Vista Pictures/Everett Collection/IBL Bildbyrå 101 Photodisc V 34 105 David Trood/Stone/Getty Images 112 Bob Krist/Corbis/Scanpix 116 Lindsay Parnaby/EPA/Scanpix 119 Gary Houlder/Corbis/Scanpix 120 Jean-Luc Luyssen/MPA/IBL Bildbyrå 123 Camilla Wallberg/Scanpix 125 Viollet/IBL Bildbyrå 128 ö Viollet/IBL Bildyrå

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

128 129 131 138 140 144 150 151 152

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

156 160 164 166 168 173

s. s. s. s. s.

174 177 185 192 198

n Photolibrary/Nordicphotos Mary Evans/IBL Bildbyrå R Nowytarger/Rex/ IBL Bildbyrå Annarut Höglund/Scanpix Jonathan Player/Rex/IBL Bildbyrå David Trood/Scanpix R Cisar-wright/Rex/IBL Bildbyrå Tina Miguel/Nordicphotos 20th Century Fox/Everett Collection/IBL Bildbyrå Masterfile/Scanpix Noel Hendrickson/Masterfile/Scanpix Roy Morsch/AGE/Scanpix Jeff Greenberg/AGE/Scanpix Nonstock/Johnér Bildbyrå ”Frankenstein”, Boris Karloff. Topham Picturepoint/Scanpix Julie Troy/Botanica/Scanpix Craig Aurness/Corbis/Scanpix Columbia/Everett Collection/IBL Bildbyrå Image Network/IndexStock/Scanpix Bruce Rowell/Masterfile/Scanpix

Teckning s. 40 Peter Varhelyi

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ISBN 978-91-47-08196-7 © 2008 Christer Lundfall, Ralf Nyström, Nadine Röhlk Cotting, Jeanette Clayton och Liber AB Redaktion Aya Stehager, Inger Strömsten Formgivning Eva Jerkeman Bildredaktion Marie Olsson Produktion Björn Trygg Granskning och utprövning Annika Olby, Ebba Nystrand-Eriksson, Marie Jansson, Gunilla Rosinger & Martha Stalby Andra upplagan 1 Tryck Elanders Ungern 2008 Repro Repro 8 AB, Nacka Tack till eleverna på Franska skolan, Stockholm, för mönstertexterna i Writer’s Workshop.

Kopieringsförbud Detta verk är skyddat enligt upphovsrättslagen. Kopiering utöver lärarens rätt att kopiera för undervisningsbruk enligt BONUS-avtal är förbjuden. BONUS-avtal tecknas mellan upphovsrättsorganisationer och huvudman för utbildningssamordnare, t.ex. kommuner/universitet. 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 erlägga ersättning till upphovsman/rättsinnehavare. 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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Engelska B (steg 6) för gymnasiets studieförberedande program och komvux

www.liber.se

Lundfall • Nyström • röhlk cotting • Clayton

BLUEPRINT B

BLUEPRINT B – VERSION 2.0

BLUEPRINT B VERSION 2.0

Christer Lundfall Ralf Nyström Best nr 47-08196-7 Tryck nr 47-08196-7

nadine röhlk cotting Jeanette Clayton Liber

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