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Landkarten aus dem 13. Jahrhundert zeigen eindeutig den Weg nach "Paradis", einer Insel östlich von Indien, so unerreichbar, dass niemand beweisen konnte, dass es ein Mythos war. Die Ziele, die mittelalterliche Gelehrte in die "Mappa Mundi" eintrugen/einzeichneten, erscheinen dem modernen Reisenden unglaublich unerfahren. Jetzt, mehr als jemals zuvor, fahren wir fort ganz naiv nach unserem verlorenen idealen Paradis zu suchen. | Landkarten aus dem 13. Jahrhundert zeigen eindeutig den Weg nach "Paradis", einer Insel östlich von Indien, so unerreichbar, dass niemand beweisen konnte, dass es ein Mythos war. Die Ziele, die mittelalterliche Gelehrte in die "Mappa Mundi" eintrugen/einzeichneten, erscheinen dem modernen Reisenden unglaublich unerfahren. Jetzt, mehr als jemals zuvor, fahren wir fort ganz naiv nach unserem verlorenen idealen Paradis zu suchen. | ||
| − | Heute, wo die Wanderer/ Rucksackbibel "Lonely Planet" ihren 30. Geburtstag feiert, war das Streben nach Abenteuer nie mehr verbreitet. Exotische Ziele, außerhalb der Reichweite der durchschnittlichen 70er-Jahre-Familie, sind nun leicht zu erreichen. | + | Heute, wo die Wanderer-/Rucksackbibel "Lonely Planet" ihren 30. Geburtstag feiert, war das Streben nach Abenteuer nie mehr verbreitet. Exotische Ziele, außerhalb der Reichweite der durchschnittlichen 70er-Jahre-Familie, sind nun leicht zu erreichen. Ursprünglich war der Reiseführer ein Steuermann für die mittellosen und waghalsigen Jugendlichen - ein Gegensatz zu dem Luxus von noch mehr konservativen Urlaubstagen. Jetzt, dadurch, dass er solche abgelegenen Ziele für die Öffentlichkeit zugänglich macht, öffnete der berühmte Reiseführer "Lonely Planet" den Weg zu einem Massenmarkt. Die Autoren hatten genug Glück, von Inspiration zu strotzen in einer Zeit als sich der Urlaubsmarkt dramatisch veränderte. |
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| + | ==== <span style="color: red">Vocabulary</span> ==== | ||
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| + | unsophisticated - not having or showing much experience of the world and social situationsunsophisticated tastes | ||
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| + | helmsman - a person who steers a boat or ship | ||
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| + | penniless - having no money; very poor | ||
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| + | audacious - willing to take risks or to do something shocking | ||
=== ''' ''Religion and Politics'' ''' === | === ''' ''Religion and Politics'' ''' === | ||
Aktuelle Version vom 21. Februar 2011, 10:40 Uhr
Inhaltsverzeichnis |
This is me
♥ 12th grade (main courses are English LK Englisch/Thelenberg 2009 11 and Maths)
♥ love music and dancing, writing and reading, my tomcat, jamming with others and playing my piano, singing
♥ interested in stuff like cooking, baking, languages (eventhough I hate the vocabulary and grammar part, speaking them is so much more fun), travelling
♥ my favourite animals are cats because they are self-dependent and free
♥ things I really would like to do are: visiting Moni in Columbia, travelling to Australia and Cuba
LK English
Practice Abitur
Translation
Landkarten aus dem 13. Jahrhundert zeigen eindeutig den Weg nach "Paradis", einer Insel östlich von Indien, so unerreichbar, dass niemand beweisen konnte, dass es ein Mythos war. Die Ziele, die mittelalterliche Gelehrte in die "Mappa Mundi" eintrugen/einzeichneten, erscheinen dem modernen Reisenden unglaublich unerfahren. Jetzt, mehr als jemals zuvor, fahren wir fort ganz naiv nach unserem verlorenen idealen Paradis zu suchen.
Heute, wo die Wanderer-/Rucksackbibel "Lonely Planet" ihren 30. Geburtstag feiert, war das Streben nach Abenteuer nie mehr verbreitet. Exotische Ziele, außerhalb der Reichweite der durchschnittlichen 70er-Jahre-Familie, sind nun leicht zu erreichen. Ursprünglich war der Reiseführer ein Steuermann für die mittellosen und waghalsigen Jugendlichen - ein Gegensatz zu dem Luxus von noch mehr konservativen Urlaubstagen. Jetzt, dadurch, dass er solche abgelegenen Ziele für die Öffentlichkeit zugänglich macht, öffnete der berühmte Reiseführer "Lonely Planet" den Weg zu einem Massenmarkt. Die Autoren hatten genug Glück, von Inspiration zu strotzen in einer Zeit als sich der Urlaubsmarkt dramatisch veränderte.
Vocabulary
unsophisticated - not having or showing much experience of the world and social situationsunsophisticated tastes
helmsman - a person who steers a boat or ship
penniless - having no money; very poor
audacious - willing to take risks or to do something shocking
Religion and Politics
Questions on the text
1. Is it important for the Americans, that their president is religious?
Yeees
2. and why?
Because some people like it if a president mentiones god in every speech.
3. Why do others think that there should be no connection between religion and politics?
Because religion has intruded improperly into the political sphere, including abortion, stem cell research, education, and the Iraq war.
4. What is Pastor Ted Haggard's opinion on stem cell research?
He thinks it is as bad as "Hitler making lampshades out of human skin".
5. What does he think about gay marriage?
He opposes it. He says that his church preserves the sanctity of marriage. Their position is that it's sacred and needs to be protected.
6. Why won't he be successful in opposing gay marriage?
There is the global trend toward freedom, which he thinks is wonderful. But when everybody has a global trend toward freedom, then there are some areas where you're going to lose socially. Pew Forum research suggests he is right: the percentage of Americans who strongly oppose gay marriage fell from 41% in 1996 to 30% in 2003, while the numbers who favour or strongly favour it climbed by the same amount.
7. Why do you think should the church not confuse its role with the state? Give an example.
The church needs to be able to express a moral imperative but not be able to have this moral rules as laws. Example: He preaches against pre-marital sex, but even if people decide to have pre-marital sex they should in his opinion not be arrested for it.
8. Explain the quotation: "He is not your little Texan God?"! Referring to Ann Whitlock
She chose in her own heart to believe that everybody is made in Christ's image, but if she thinks something is wrong she really will speak out, and she thinks this country is on the wrong track. In her opinion Christ would have had a ball with the people Bush doesn't support. The people that Bush condemns would have been Christ's congregation, the outcasts of society. She believes Mr Bush is a sincere Christian - but too small-minded. God is bigger.
Novel
Changing Places
Translation
Lodges beide Protagonisten wurden geschickt gezeichnet um darzustellen, was wir uns vorstellen, sei es richtig oder falsch, wie nationale Charakteristiken des "typischen Engländers" und des "typischen Amerikaners" aussehen. Philipp Swallow ist ein höflicher, sanftmütiger,schüchterner Zeitgenosse, der uns als Vorbild eines soliden Familienmenschen vorgestellt wird, der all seine Zeit und Kraft in seine Frau Hilary und seine zwei jungen Kinder steckt. Als Literaturprofessor ist er uninteressant und langweilig; er hat sein Leben auf seine Zeit in Rummidge und einen Lehrerberuf bis zum Lebensende mit wenig hoffnung auf eine Promotion ausgelegt. Er ist ein Mann der gelangweilt und unausgefülltist, als er auf sein neues Abenteuer in Amerika aufbricht.
Morris Zapp, im Gegensatz zu ihm, ist ein barscher, lustiger, sexuell interessierter Akademiker mit selbstbewusstem Auftreten, der sich weltweites Ansehen dadurch verdiente, dass er der herausragendste Experte vor allem den ehrwürdigen Schriften Jane Austens. Mit einem kleinen, festen Stoß gegen die Scheinheiligkeit der literarischen Welt, zeigt Lodge uns die Tatsache, dass Zapp fünf bildende Bücher über Austen geschrieben hat, obwohl er ihre Werke persönlich für langweilig hält. Fest von seiner akademischer Überheblichkeit überzeugt und dass er so ein immer erfolgreicher Womanizer war, erscheint es nur passend, dass seine selbstbewusste (?) Frau Desiree dabei ist, ihm den Laufpass zu geben.
Während Lodge großen Spaß daran hat, den amerikanischen "mitten ins Gesicht" Stil, des brillianten und unhöflichen Zapp, dem ziemlich indirekten englischen Stil des befangengen und übertrieben bescheidenen Swallow gegenüberzustellen, scheint er seinen Lesern zu sagen, dass das englische Schulwesen ein paar mehr freidenkenden Morris-Zapp-Typen gebrauchen könnten. Wirklich, als Lodge bei einem Interview im Jahr 1985 seine Figur des Morris Zapp kommentierte, sagte er, dass "ich einen kleinen Teil von Morris Zapp in mir habe, denke ich und ich spreche auf diesen geistreichen,harschen, stichelnden jüdischen Typen des amerikanischen Akademikers an. Ich habe immer das Gefühl, dass sich die Welt doppelt so schnell dreht, wenn man mit ihnen unterwegs ist.
Two main Characters: Personality, Family, Career
Morris Zapp
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Philipp Swallow
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University Life and Academical System
Euphoric State University
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Rummidge
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Life in the USA vs. Life in Britain
USA |
Britain |
Characterization
picture 6:
The picture shows a young man with short blonde hair. With his disarming smile he is smiling friendly into the spectator's direction. In the background you can see the ocean which means that he is standing on a beach. He wears sunglasses, a white shirt and a brown jacket.
This guy is extremely successful at work. He normally works at the bank and on the weekends he works as a life-guard at the coasts. Right now he is in his break and is getting something to drink. He is walking to the bar at the beach where a pretty young woman is working. He likes to help other people but is also very selfconfident and knows how to get what he wants. He makes jokes a lot and makes other people laugh. He lives in a wonderful loft and has everything he wants. Every night he goes out to party and dance, but he never drinks too much to not be able to work on the next day. He is an consultant.
Drama
Romeo & Juliet
Translation
Scholars have started to consider Shakespeare as a 'man of the theatre', writing plays for performances rather than for university studies. Consequently, they have begun to deal with productions rather than written plays, analysing the movements of the plays from page to stage.
Of course there have been remarkable screen adaptations as well, with Laurence Olivier's Henry V (1944) being the first film widely considered an adequate adaptation both in Shakespearean and filmic terms. Forty-five years later Kenneth Branagh presented an equally successful yet altogether different film version of this play.
Why Shakespeare at all? His continuous attraction as a playwright "not for an age but for all time" , as Ben Jonson put it, probably derives from the fact that he presents a minute and balanced view of many variations of human existence. Consequently the ever changing interpretations in productions and scholarly articles reflect neither Shakespeare's intentions nor the single correct reading, but rather mirror the worldviews of directors, critics, and scholars and the conditions of their time.
Experten haben angefangen Shakespeare immer mehr als "Mann des Theaters" zu sehen, weil er die Stücke mehr für Auftritte als für Universitätsstudien schrieb. Deshalb haben sie begonnen sich mehr mit den Produktionen als mit den geschriebenen Stücken auseinander zu setzen. Sie analysierten die Übertragung der Stücke vom Blatt auf die Bühne.
Natürlich gab es bemerkenswerte Versionen für die Leinwand, mit Laurence Oliviers Henry V. (1944), als den ersten Film, der im Großen und Ganzen eine ausreichende Darstellung schaffte. Dies erreichte er in einem Stil der sowohl Shakespeare als auch den filmischen Mitteln gerecht wurde. 45 Jahre später brachte Kenneth Branagh eine ähnlich erfolgreiche und trotzdem komplett verschiedene Filmversion dieses Stückes heraus.
Warum überhaupt Shakespeare? Seine stets bleibende Besonderheit als Dramenautor "nicht für eine Zeit, sondern für alle Zeiten", wie es Ben Jonson ausdrückte, kommt daher, dass er eine Minute und einen ausgeglichenen Blick für viele verschiedene Variationen der menschlichen Existenz aufzeigt. Deshalb reflektieren weder die sich immer verändernden Interpretationen von Filmproduktionen und Expertenartikeln Shakespeares Absichten, noch das alleinige richtige lesen, sondern sie zeigen eher die Weltansichten von Produzenten, Kritikern und Experten und die Bedingungen ihrer Zeit.
1. What is the function of this prologue in "Romeo and Juliet"??
It is to introduce the plot and to give the audience an idea of what is going to happen. In addition to that it also describes the surrounding and what is the main problem: the conflict between the families.
2. Write a recipe for a brilliant play about love! - What does it take ...?
- a strong and loving guy
- a wonderful intelligent girl
- a conflict or something that devides them for a longer time
- someone who plays tricks on them so that they can't get together... in the end this one is going to die or s.th.
- a good climax of the plot
- a breath-taking ending!
Part 3:
1. Costume, masks and make-up
- costumes give the characters extra features
- masks express non-human characters
- make-up "ages" actors or indicates fantasy characters
2. Sounds and music
- add atmosphere
- emphasize action happening on stage
- help set the scene
- indicate a change of time or location
- focus attention on to a character
3. Lighting
a) Spot: one character is stressed
b) Fresnel: soft overall light
c) Flood: clear wide-angled light; Colour filters can be used for the last three ones.
d) Strobe: flashing lights used for special effects.
Incident
- How do the two women's attitudes to the situation and their relation to each other change?
Is there a turning point?
| Ms Jones | Ms Smith |
|---|---|
| * defends Ms Smith and gets in trouble with Mrs Brown (p.51 l.11) | * wants to leave the hotel (p.50 l.12-15) |
| * wants Ms Smith to stay and find a compromise(p.53 l.12) | * is against the compromise (p.53 l.24) |
| * accepts seperation of Ms Smith and wants to convince her to stay in the annexe (p.54 l.26) | * feels seperated and is against division(p.54 l.7-8) |
| * wants to go with Ms Smith to show that they are friends (p.54 l.9) | * eventhough she likes Ms Jones she doesn't want to be second-best (p.54 l.13) |
| * blames Ms Smith for being ruthless "All alike those Smiths" - supports the prejudice (p.55 l. 7-9) | * respects Ms Jones for her help but thinks it's not enough and wants to keep her self-respect (p.55 l.10/25) |
| * gets angry (p.55 l.25) | * is disappointed of her friend because Ms Jones accepts the difference in treatment but is quite calm (p.55 l.27) |
| * begs her to stay (p.56 l.1) | * asks one last time whether she can stay among the normal guests (p.56 l.9) |
| * loses her temper and even curses at her because she thinks that she looks like a clown because she didn't accomplish anything (p.56 l.13) | * wants to stay Ms Jones friend (p.56 l.14) |
| * first doesn't want to be Ms Smith's friend anymore (p.56 l.15) then calls after her (p.56 l.22)<- | * leaves (p.56 l.16) |
- What are Mrs Blake's and Shirley's views of all Smiths on p. 46 l.23 - p. 51, l. 12? (Use a two-column-table and give page/lines to support your points).
| Mrs Blake's | Shirley's |
|---|---|
| * Smiths outnumber every other person (e.g.telephone directory)(p.48, l.1-3) | * Smiths are another sort (p.48, l.9) |
| * are like an unmentionable disease (p.48, l.13) | * one can never trust a Smith (p.48, l.20) |
| * Smiths are a menace to the English way of life (p.48, l.25) | * Smiths never use a handkerchief (p.48, l.24) |
| * do corrupt the government (p.49, l.14-15) | * |
| * earn money by doing illegal things (p.50, l.28 - p.51, l.1-2) | * |
| * Smith is a Smith, you can't get away from it. (p.47, l.20) | * |
| * are arrogant (p.47, l.23) | * |
| * Are a powerful group - the Smiths (p.48, l.6) | * |
| * may be a sweet girl,[...] but a line must be drawn somewhere (p. 46, l.27) | * |
| * source of Mrs Blake`s personal negative situation (p.49, l.17 - p.50, l.4) | * |
| * infiltrate everything. e.g.: navy, church, BBC, politics (p.48 l.16) | * |
| * have a lot of money (p.50, l.28) | * |
| * sit back while others fight for them (p.52, l.1) | * |
| * are weak (p.49, l.9;11) | * |
| * smell (p.50, l.8) | * |
| * are responsible for everything (p.52, l.25) | * |
| * are avaricious (p.54, l.25) | * |
| * are ruthless (p.55, l.16) | * |
Advertisment
Against Prostitution
| question | answer |
|---|---|
| what product? | There is no real product. They want to call public attention to prostitution and that this supports human trading |
| aim and target group? | Everybody, especially the ones that pay prostitutes. |
| elements (description, relation between them? | The main element is the picture. The written part only takes about 20% of the whole advert. |
| how is "customers'" attention attracted? | It is attracted by a naked woman who is captured in a box that is covered by a clingfilm. She looks quite powerless and also a bit sad. The whole picture appears to be a picture of a packed box for meat that everybody can buy in the supermarket. Furthermore this box is placed on a table made of metal, where usually meat is cut into smaller pieces. The shocking fact is that instead of meat there is a woman inside of the box and even if she would not be cut into pieces she's going to suffocate sooner or later. Her hands are pressed against the clingfilm as if she was trying to get out but she can't. In the right corner there also is a bar code which seems to take her personality; as if she was only a number. |
| message (of text and image)? | The message is that prostitution should not be supported and be forbidden! |
| how does the advert work, how are people influenced/conviced? |
|
Prairie Vodka
1. What product is advertised/for sale?
2. Describe the elements (picture(s), title, slogans, texts, emblems ...) of the advert.
3. What group(s) of people is this advert directed at?
4. What is the message/question/promise of the advert? How is this (implicitly/explicitly) expressed?
5. How is the target group made to want this product? Through which channels/by what rhetorical or visual tricks/effects does the advert appeal to the viewer/reader?
The product that is advertised is Prairie vodka and in this picture there is just one slogan which says: “Let the Prairie in.” In the foreground of the advertisement you can see a rather beautiful woman wearing a long white dress and black high heels. In her right hand she’s got a glass full of the advertised vodka which is quite difficult to spot. She has got long curly hair which makes her combined with the two wolves standing next to her look very wild, free and strong. The wolf in the middle ground of the advertisement even howles, which even underlines this statement. They seem to be standing on a balcony somewhere in the center of a city because in the background there are a lot of sculptures made of stone and a skyline by night with lots of skyscrapers. The whole picture is drawn in quite dark colors or rather just black and white except the woman’s skin and the skyline. The emblem of Prairie Vodka above the scene, which more or less reminds the viewer of a full moon, is another eye-catcher because it is bright orange.
The advert is addressed to young adults. It is especially directed at women because this woman on the advert is very attractive and women might want to be as wild and good looking and as self confident and independent as this woman seems to be. That’s why they would possibly buy the product. Men are also addressed but a little differently because they may think that drinking Prairie vodka would make them worth a woman like the one in the advert.
The rhetorical trick which is used is that the name of the product is used in a different context. It is taken literally and on this base the photo was created. “Let the Prairie in”, also is an order which underlines that you can also be wild even if you are living in a city and that all you need for this is this specific vodka.
Poetry
- you are like a cat
= so strong so slim and so fast - you are like a rainbow that appears on a sky full of clouds
= gives hope - your eyes are just as deep and as blue as the sea
= intelligence - your heart is as big as the heart of an elephant
= you are very open-hearted - your love to me is like a bright and shining sun that breaks out of a black and stormy night
= your love helps me to get out of my bad mood/gets me to overlook my own mistakes - your arms are the only ones strong enough to catch me if I fall
= you are a good comforter - you are my heart
= without you I can't live - you are as cunning as a fox
= intelligence - you are like a diamond that I find in the innermost of a mountain
= precious, rare, expensive, very difficult to reach/find, beautiful - you are like the smile of a stranger when nobody is thinking of you
= gives hope, makes me feel better
I shall forget you presently, my dear
Images
little day - short day/minimization => irony
Ordinary People - John Legend
John Stephens or better known as John Legend was born on the 28th of December 1978 in Springfield, Ohio. At the age of four he started playing the piano and joined the choir at the age of seven. He is an American recording artist, musician and actor. Among others he worked together with Alicia Keys, Jay-Z, Kanye West and Fort Minor. Moreover he took part in the song “Yes we can” to support Barack Obama`s presidential candidature. He chose his stage name “John Legend from a nickname that was given to him by a friend because of his old school sound.
The song is about a male speaker who is talking to his girlfriend about the ups and downs of their relationship. He is wondering whether their relationship can endure these difficult times but he really hopes that they stay together. This is shown in the contrast in line 23-24 „Sometimes it's heaven sent/Then we head back to hell again“ 27 „ We rise and we fall“. The lyrical speaker loves his girlfriend (“Girl, I’m in love with you”), but is quite unsure about their relationship (often repetitions of “maybe”). Furthermore he and his girlfriend have been together for a long time („This ain't the honeymoon“). In addition the speaker is a realistic person („no fairy tale conclusion“; no „movie“), because he don’t believe in a happy ending. And in the song “way” appears in many ways, like “we don’t know which way to go”, “and we feel just like walking away” etc. That’s why “way” can be the leitmotif, because it shows up again and again, but always in a different way.
- Verse 1
- Girl I'm in love with you
- But this ain't the honeymoon
- Past the infatuation phase
- Right in the thick of love
- At times we get sick of love
- It seems like we argue everyday
As aforementioned the male speaker loves the girl he is talking to, because he is singing “Girl, I’m in love with you”. So it’s quite obvious that he loves her. Besides there is a Metaphor in the next line (“honeymoon”). The second and third lines want to express that they aren’t newly in love anymore. In addition the phrase “right in the thick of love” means that love can sometimes be confusing. And sometimes they don’t want to see each other and want to give up everything, because the speaker says that “it seems like we argue everyday”.
- Bridge
- I know I misbehaved
- And you made your mistakes
- And we both still got room left to grow
- And though love sometimes hurts
- I still put you first
- And we'll make this thing work
- But I think we should take it slow
In the bridge there is another metaphor, “still got room left to grow”, which means that the speaker and his girlfriend don’t limit each others freedom and there is also a personification (“love sometimes hurts”), which stresses the bad sides of love. The girl the speaker is talking to is still the most important person in his life, because she still comes first. And with the word “thing” he means their relationship.
- Verse 2
- This ain't a movie no
- No fairy tale conclusion ya'll
- It gets more confusing everyday
- Sometimes it's heaven sent
- Then we head back to hell again
- We kiss then we make up on the way
“No fairy tale conclusion ya`ll” means that their relationship is something real and nothing that somebody invented. And he realizes that there will be no happy ending like in a movie (first line), because life always goes on and there will be always problems to solve. In the second verse you may find a contrast “hell” and “heaven” which stresses the ups and downs in a relationship even if you don’t expect them.
- Bridge
- I hang up you call
- We rise and we fall
- And we feel like just walking away
- As our love advances
- We take second chances
- Though it's not a fantasy
- I still want you to stay
In the next bridge there is again a contrast between “we rise and we fall”. This emphasizes the up and downs, like mentioned before. Furthermore the male speaker talks about a distance between the two of them (“And we feel like just walking away“), which also can be the leitmotif. In the second bridge there is another personification “love advances”. Further they want to start again from the beginning, because he is singing: “We take second chances”. And though not everything works out well, he still wants them to stay together, which you can see in the last two line of the bridge.
- Verse 3
- Take it slow
- Maybe we'll live and learn
- Maybe we'll crash and burn,
- Maybe you'll stay, maybe you'll leave,
- maybe you'll return
- Maybe another fight
- Maybe we won't survive
- But maybe we'll grow
- We never know baby you and I
The repetitions of maybe are quite eye-catching, because the appear five times and four times at the beginning of the sentences, so the speaker wants to emphasis that he is not quite sure about their relationship and how its going to continue. In addition there is a metaphor “crash” and “burn”. This metaphor is dramatic, because when you imagine a crash or something burning you associated something very negative with it. And in this verse you can find some contrast, like “stay” and “leave” or “fight” and “survive”. This also shows that the male speaker doesn’t know how their relationship will go on. But he accepts her decisions and supports her, whatever she wants to do (“Maybe you'll stay, maybe you'll leave, maybe you'll return”). Another noticeable stylistic device is that he uses a lot of negative words like “crash”, “burn”, “fight” or “leave”. In the third verse there is also the turning point marked by the BUT. At the turning point the attitude of the speaker changes and he still got hopes for their relationship and he hopes that they will be stronger, so can leave behind their past and their mistakes (last two lines). But he is not sure about that.
- Chorus
- We're just ordinary people
- We don't know which way to go
- 'Cause we're ordinary people
- Maybe we should take it slow
- This time we'll take it slow
- This time we'll take it slow
The phrase “We're just ordinary people” means that they aren’t something special and that they are like everybody else. So they also have problems and it is normal to have some. (next line) Moreover he repeats often the sentence “This time we'll take it slow”. You may conclude that they rushed at the beginning of their relationship, but this time they will try to change it and make it even better, because now they are going to take time. Furthermore he always talks of them as “we” which means that he includes the two of them in what he is saying and not only himself.The rhyme pattern only changes in the chorus and in verse 3. Before it was aabccb, but in the chorus it is ababbbbb.
Correspondence between statement and style: The rhyme pattern changes at the turning point, even though there is no real rhyme that also expresses his attitude towards love and relationships: that they are unsteady and can often change. At the turning point there is also a change of accords in the music. The statements he made and the style of language which are used in this song totally support each other.
Questions on the text
Oi! Just mind your language!
There are certain factors that influence and change British English. Firstly the media play an important role. They especially influence the pronunciation of children with various TV shows and advertising. That leads us to the change under the influence of language by youth language. Certain words change e.g. "cool" instead of "whizzer". Another important influence is the American slang. For instance "barf" for "vomit" or neologisms like "pre-enjoyed" are now used in British English, too. A new development is the adoption of slang words in credible dictionaries. The most peculiar change is the spreading of Estuary English from London to the rest of the country. This spreading of the cognifying London English is probably the most recognisable factor for the change of language becoming less important.
Homework
Received Pronunciation
1. definition
2. sample
Questions on the text "Lobbying and PACs" 19th of October 2009
1. a) direct lobbying
- face-to-face meetings
- different lobbyists join together to present their point of view (coalition approach)
b) indirect lobbying
- massive letter-writing
=> information about the concerns they represent
=> educate public officials about a specific point of view
Summary of a poll
Elections
in the USA
- Poll finds great expectations for Obama
- Barack Obama fulfils the dream
- Great expectations: Barack Obama and the world - a Canadian opinion
in Germany
- The CDU/CSU won the elections with 33.8 percent. They will form the government with
- the FDP. The FDP had one of their best election result ever (14.6 %)
- the opposition will be led by the SPD that had one of their worst votings (23.0 %)(compared with the last election they had a loss of 11.2 %) and now they even try to make friends with
- the Linke. They won in 15 electoral districts. That's 11 districts more than last time. They got 11.9 percent. That's even more than
- the Bündnis '90/ die Grünen because they only got 10.7 percent.
- All other parties together got 6.0 percent
