Green Line Sonderdruck Klasse 10 Niedersachsen
Abgleich Kerncurriculum Niedersachsen 2006
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Green Line Sonderdruck Niedersachsen Klasse 10
Abgleich mit dem Kerncurriculum Englisch für das Gymnasium (2006)
Diese Aufstellung geht von drei Stunden Englisch pro Unterrichtswoche und ca. 30 Unterrichtswochen pro Jahr aus,
von denen die Arbeit mit dem Green Line Sonderdruck etwa zwei Drittel ausmacht:
Teil 1, Unit 2: ca. 20 Stunden
Teil 2, Topic 1: ca. 15 Stunden
Teil 2, Topic 4: ca. 18 Stunden
Teil 2, Topic 5: ca. 13 Stunden
Für die restliche Zeit bietet Ihnen der Unterricht mit unserem Methodenheft Sicher in die Oberstufe aus der Reihe
Abi Workshop Englisch einen optimalen Anschluss an die Arbeit in den Klassen 11 und 12.
Teile von folgenden Begleitmaterialien können ergänzend zu Teil 2 dieses Sonderdrucks eingesetzt werden:
Green Line NEW E2
Lehrerbuch - Band 5
Klett-Nr. 581853
Green Line NEW E2
Hörverstehens-CDs zum Schülerbuch - Band 5
Klett-Nr. 581859
Green Line NEW E2
Workbook - Band 5
Klett-Nr. 581855
Green Line NEW E2
Begleit-CDs zum Schülerbuch - Band 5
Klett-Nr. 581858
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Abgleich Kerncurriculum Niedersachsen 2006
Unit
Teil 1, Unit 2:
What next?
Seite 2 von 22
Thema
Berufsorientierung und
-perspektiven, Lebenslauf und
Bewerbung
Zeitbedarf
ca. 20 Stunden
32/7 die eigenen Qualitäten beschreiben
37/4 in Partnerarbeit Jobinterviews durchführen
38/1 über die Assoziationen sprechen, die der Titel einer
Geschichte hervorruft
43/7 in bestimmten Situationen eines Jobinterviews Antworten
geben
28/1 einem Text über englische Schüler Informationen
entnehmen und über das übergeordnete Thema sprechen
37/3 a anhand von Tipps für ein Jobinterview wichtige
Informationen zum Vorbereiten auf ein Interview sammeln
34/1 einem Dialog Informationen zum Thema Berufe
entnehmen
35/6 a die Wirkung eines Gedichtes untersuchen
39/2 den Inhalt eines Textes auf die persönliche Einstellung
beziehen
40/3, 4 einen literarischen Text untersuchen
Aussprache
Wortschatz
28/2 a ein Gespräch über Berufserfahrung verstehen
35/5 a einem Telefongespräch wesentliche Informationen
entnehmen
37/3 ein Bewerbungsgespräch führen
Sprachliche Mittel
28/1, 2 b im Laufe einer Diskussion unter Benutzung von
angemessener Aussprache frei reden
38, 39, 40 einen längeren Text sinngestaltend vortragen
43/8 im Laufe einer Gruppendiskussion themenbezogen frei
sprechen
29 beim Durchführen einer flow chart Vokabular zum Thema
Berufe verstehen
32/7 Redewendungen für das Sprechen über die eigenen
Qualitäten
33/1, 2, 3 Strategien und Wortschatz zum Schreiben von
einem Lebenslauf und einer Bewerbung
41/1 Beschreiben von Jobanforderungen
41/3 Wortsuffixe in einem Text untersuchen, Wortkategorien
aufstellen und weitere Wörter finden
30/2 Regelfindung Partizipialkonstruktionen
31/3, 4, 5, 6; 32/8, 9; 34/2; 35/3, 4, 42/2, 3, 43/5, 6
Partizipialkonstruktionen
36/1, 2, 3 future tenses
36/1 Regelfindung future tenses
Grammatik
Lesen
Sprechen
Hören
Kommunikative Kompetenzen
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Sprachmittlung
33/3 einen Lebenslauf und eine Bewerbung schreiben
35/5 b eine E-Mail schreiben
42/4 eine Bewerbung schreiben
Seite 3 von 22
Orthografie
Schreiben
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Abgleich Kerncurriculum Niedersachsen 2006
41/3 anhand von pre-/suffixes die Wortart erkennen
41/2 sprachliche Mittel zum Ausdruck von Wahrscheinlichkeiten
im Deutschen ausdrücken
vgl. Übungsaufgaben mediation am Ende des Buches
28 Schulende und Berufswahl Jugendlicher in
verschiedenen Ländern
Hör- und
Leseverstehen
Sprechen und
Schreiben
28 Berufsberatung/-wahl englischer Schüler
30 IT- Berufe
Methodische Kompetenzen
37/1 Tipps für das Verhalten bei einem Jobinterview
Umgang mit
Texten und
Medien
Handeln in
Begegnungssituationen
Werte,
Haltungen,
Einstellungen
Orientierungswissen
Interkulturelle Kompetenzen
29 einen Berufseignungstest durchführen
30/1 a detailliertes Lesen
37/3 b, c detailliertes und selektives Hören
40/5 einen längeren Text gliedern
42/1 einen Bericht über Berufsberatung in Deutschland
schreiben
28/3 b das Internet und mögliche andere Medien zur
Suche von Statistiken heranziehen
33/1, 2 die typischen Merkmale einer Bewerbung und
eines Lebenslaufs untersuchen
40/6 anhand eines fiktionalen Textes einen eigenen
kreativen Text verfassen
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Seite 4 von 22
Selbstständige
s und
kooperatives
Sprachenlerne
n
37/4 in Partnerarbeit ein Jobinterview vorbereiten und
durchführen
40/8 in Gruppenarbeit Biografien schreiben und
vergleichend untersuchen
43/8 in Gruppenarbeit eine Liste von Prioritäten erstellen
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Unit
Teil 2, Topic 1:
Growing up
Seite 5 von 22
Thema
Gefühle, Einstellungen und
Beziehungen junger Menschen in
der englischsprachigen Welt
Zeitbedarf
ca. 15 Stunden
Hören
9/4 a einer Konversation wesentliche Informationen entnehmen
11/3 Detailverständnis eines Familiengesprächs; moralische
Beurteilung von sozialem Verhalten
Sprachliche Mittel
Aussprache
Kommunikative Kompetenzen
9/2 einen Gegenkommentar schreiben
15/7 einen freien, kreativen Text schreiben
13, 14, 16 gerund and participle constructions
Grammatik
15/4 die Hauptthemen eines fiktiven Textes verstehen
15/5, 6 einen fiktiven Text mit Hilfe verschiedener
literaturanalytischer Methoden untersuchen
16/2 einen Zeitungsartikel analysieren
8/1, 100/16, 17 classroom discourse: Reagieren und
Kommentieren
10/1 spontane Überlegungen zu geschlechtsspezifischen
Verhaltensmustern festhalten
15/5 literary terms
16/1 ein Wörterbuch benutzen, um den Ursprung eines
Wortes herauszufinden
vgl. Hinweise im Vokabelverzeichnis S. 125-151
Orthografie
Schreiben
Lesen
Sprechen
Wortschatz
8/1 verschiedene Aspekte des Erwachsenwerdens in der Klasse
diskutieren
9/3 eine Klassendebatte durchführen
u.a. 8/1, 9/3, 21/4 im Laufe einer Diskussion unter
Benutzung von angemessener Aussprache frei sprechen
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Sprachmittlung
Seite 6 von 22
Sprechen und
Schreiben
Umgang mit
Texten und
Medien
Hör- und
Leseverstehen
Werte,
Haltungen,
Einstellungen
8, 9 Jugendschutzgesetze
Methodische Kompetenzen
Handeln in
Begegnungssituationen
Orientierungswissen
Interkulturelle Kompetenzen
9/4 a globales Hören
11/2 a Informationen aus einem Text in mit Hilfe einer
Tabelle sammeln
11/3 a, b detailliertes Hören
15/4 globales Lesen
16/1 ein Wörterbuch verwenden
11/2 b anhand vorher gesammelter Ideen eine
Gruppendiskussion durchführen
11/3 c einen gehörten Dialog weiterführen
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Selbstständiges
und
kooperatives
Sprachenlernen
Seite 7 von 22
9/4 b eine Umfragen durchführen und in
Gruppenarbeit auswerten
17/4 in Teamarbeit ein Poster oder eine Magazinseite
erstellen
101/18, 19 skills: Präsentationen/ Projekte
vorbereiten und durchführen
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Green Line Sonderdruck Klasse 10 Niedersachsen
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Unit
Teil 2, Topic 4:
South Africa
Seite 8 von 22
Thema
Geschichte, Geografie, Wirtschaft
und Kultur Südafrikas
Zeitbedarf
ca. 18 Stunden
Lesen
57/1 verschiedene Sachtexte als Grundlage zur Diskussion
verwenden
59/1 einem Sach- und einem fiktionalen Text wesentliche
Informationen entnehmen
59/2 einen Sachtext mit einem fiktionalen Text zum gleichen Thema
vergleichen
60/5, 6, 7 einen songtext analysieren
62/4 einen Sachtext analysieren
63/7 ein Gedicht interpretieren
63/8, 64/1 a einem Sachtext wesentliche Informationen entnehmen
65/1 einem argumentativen Aufsatz die wichtigsten Gründe
entnehmen
Wortschatz
Sprechen
62/6 zu einem in einem Text behandelten Problem persönlich
Stellung beziehen
57/1 im Laufe einer Diskussion unter Benutzung von
angemessener Aussprache frei reden
59/3 Vokabular zum Thema housing aus Texten herausfiltern
vgl. Hinweise im Vokabelverzeichnis S. 125-151
58 (114/G3) would + Infinitiv zum Ausdruck von
Gewohnheiten in der Vergangenheit
61 (116/G5) expressing obligation with modal auxiliaries
62 (112/G1) past progressive
Grammatik
Hören
64/1 a einem Hörtext wesentliche Informationen entnehmen
64/2 ein Radiointerview verstehen
Sprachliche Mittel
Aussprache
Kommunikative Kompetenzen
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vgl. Hinweise im Vokabelverzeichnis S. 125-151
Orthografie
61/3 einen Zeitungsartikel über ein in einem Sachtext behandelten
Thema schreiben
65/2 (97/S13) einen Kommentar schreiben
Seite 9 von 22
Sprachmittlung
Schreiben
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Werte, Haltungen,
Einstellungen
65 die afrikanische Gesellschaft und Rassismus/HIV
Hör- und
Leseverstehen
56, 57 etwas über Südafrikas Geschichte, Kultur, Landeskunde
und Wirtschaft erfahren
Methodische Kompetenzen
Sprechen und Schreiben
Orientierungswissen
Interkulturelle Kompetenzen
59/3 selektives Lesen
60/5, 6, 7 einen songtext analysieren
61/1 Überschriften für Textabschnitte finden
64/2 (88/S1) mit Hilfe von Strategien zum besseren
Hörverständnis einen Radiobericht verfolgen
57/2 aufgrund der Analyse von Ausdrücken die Intention
eines Textes herausfinden und einen Text mit der
gleichen Intention schreiben
57/3, 61/2 einen Vortrag planen
62/5 anhand von Einzelfakten die Gründe für ein
Ereignis erklären
63/9 anhand eines Sachtext über Südafrika die Lage im
eigenen Land beschreiben
65/2 (97/S13) mit Hilfe von Strategien zur Vorbereitung
eines argumentativen Aufsatzes einen persönlichen
Kommentar verfassen
© Ernst Klett Verlag GmbH, Stuttgart 2008 | Alle Rechte vorbehalten | Von dieser Druckvorlage ist die Vervielfältigung für den eigenen Unterrichtsgebrauch gestattet.
Umgang mit
Texten und
Medien
Seite 10 von 22
Selbstständiges
und kooperatives
Sprachenlernen
Handeln in
Begegnungssituationen
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57/3 das Internet als Quelle zur Informationsbeschaffung
benutzen
59/4 in Partnerarbeit Interviews zwischen fiktiven
Personen erdenken
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Abgleich Kerncurriculum Niedersachsen 2006
Unit
Teil 2, Topic 5:
Living in a modern world
Seite 11 von 22
Thema
Vor- und Nachteile des
wissenschaftlichen und
technologischen Fortschritts
Zeitbedarf
13 Stunden
75/3 basierend auf der Idee eines Textes einen eigenen fiktionalen
Text schreiben
78/6 eine Filmrezension schreiben
Wortschatz
78/6 filmspezifisches Vokabular anwenden
79/10 a Vokabular zum Thema Überwachung verstehen und
ggf. nachschlagen
Grammatik
72/1, 73/2 (100/S16) anhand von Fotos und Kurzinformationen über
ein Thema diskutieren
75/1 als Vorbereitung auf einen fiktionalen Text die persönliche
Meinung zum übergeordneten Thema äußern
78/5 die eigene Meinung zum Thema eines Textes äußern
80/12 (100/S17) eine Klassendebatte durchführen
85/1 auf der Grundlage von Fotos über die Vor- und Nachteile von
Technologien sprechen
75/2 einen fiktionalen Text untersuchen
78/2, 3, 4 einen literarischen Text verstehen, inhaltliche und
stilistische Besonderheiten entdecken und bewerten
79/7, 8 einen Cartoon verstehen und auf das übergeordnete Thema
beziehen
80/12 im Laufe einer Debatte unter Benutzung von
angemessener Aussprache frei reden
74 (119/G12) relative clauses
75 (118/G10-11) adverbs
76, 77 (121, 122/G14) participles
vgl. Hinweise im Vokabelverzeichnis S. 125-151
Orthografie
Schreiben
Lesen
Sprechen
Hören
73/3 Meinungen zu einem Thema verstehen und zusammenfassen
85/2 die wichtigsten Informationen eines gesprochenen Berichts
verstehen und wiedergeben
Sprachliche Mittel
Aussprache
Kommunikative Kompetenzen
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Sprachmittlung
Seite 12 von 22
Methodische Kompetenzen
Sprechen und
Schreiben
Hör- und
Leseverstehen
72, 73 Roboter in Science Fiction und Realität
85 Technologie und Umwelt
Umgang mit
Texten und
Medien
Handeln in
Begegnungssituationen
Werte,
Haltungen,
Einstellungen
Orientierungs-wissen
Interkulturelle Kompetenzen
73/3 (88/S1) mit Hilfe von Strategien zum besseren
Hörverständnis einen Radiobericht verfolgen
75/2 (89/S3) mit Hilfe von Strategien zur Textanalyse
einen fiktionalen Text untersuchen
78/2 (93/S7) Untersuchung der Erzähltechniken in einem
fiktionalen Text
79/10 b globales Lesen
80/11 die wichtigsten Argumente aus einem Text
heraussuchen und diskutieren
75/3 (96/S11) mit Hilfe von Strategien zum freien
Schreiben einen fiktionalen Text schreiben
78/6 (102/S20) mit Hilfe von Vokabular zur Filmanalyse
eine Filmrezension schreiben
79/9 einem Cartoon andere Überschriften geben
73/4 verschiedene Informationsquellen benutzen, um
eine Präsentation vorzubereiten
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Seite 13 von 22
Selbstständige
s und
kooperatives
Sprachenlerne
n
75/2 4 in Partnerarbeit einen Dialog durchführen
80/13 die Aktualität/Relevanz eines Themas im eigenen
Land recherchieren
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Seite 14 von 22
Hörtexte
Teil 1
Unit 2, Page 28, Ex. 2, Listening: Work experience
(Dialogue can be delivered in natural style, up to speed, non–RP, casual pronunciation etc.)
Marco:
Naomi:
Pete:
Naomi:
Pete:
Naomi:
Marco:
Naomi:
Marco:
Naomi:
Pete:
Marco:
Pete:
Naomi:
Pete:
Marco:
Naomi:
Marco:
Naomi:
Marco:
Pete:
Marco:
Naomi:
Pete:
Naomi:
Are you going to stay on at school and do A levels like me and Pete, Naomi?
Yeah, although I’m not sure what subjects I want to do yet.
Well, what A levels do you need for what you want to do later?
I don’t know what I want to do later, Pete. I only know what I don’t want to do.
What’s that?
Work in a kindergarten. That’s what I did for my work experience last year, and, you know,
oh, I’m just not patient enough to look after lots of little children. I think it’d kill me!
Why did you choose a kindergarten for your work experience?
I didn’t choose it. I kept hoping I’d get something like, you know, radio or TV.
Dream on!
Why not? Nothing wrong with dreaming! Anyway, that didn’t work out. And well, in the end
the kindergarten was all they could offer me.
Well, at least it taught you something, even if it’s only what isn’t right for you. But I was so
lucky. I really enjoyed my work experience.
Oh yeah, you worked in a dogs’ home, didn’t you, Pete?
Yeah. It was great. I mean, not always for the dogs, ’cos some of them have been, like, so badly
treated before they arrive there. But it was great to be able to help them. The vet who came to see
the dogs was really cool. I spent a lot of time with her, and talked to her a lot. She really helped
me to make up my mind that I want be a vet, too.
Hadn’t you thought of it before?
Yeah. I mean, I’ve always liked the idea of working with animals. But I didn’t actually know that
much about being a vet before. You know, what it’s really like.
And the best way to find out about being a vet is from the horse’s mouth!
(laughs) Very good, Marco! What did you do for your work experience, anyway? Something
with computers, I bet.
Only indirectly. I said I was interested in telecommunications, so they gave me a placement with
a telephone company. And I drove around with these two guys, and we sorted out, you know,
people’s telephone problems.
So did you learn anything from it?
Lots! Like, if you’re a telephone engineer you have to get up early for work. And there are lots of
health and safety rules you have to remember. Oh yeah, and you need to wear nice clean socks
’cos some customers make you take your shoes off when you go into the house!
(laughs) I remember you telling me that.
It was all good fun. But I wouldn’t want to do that job forever. There are areas of technology
that, well, they interest me more.
I have to admit, I can’t imagine having a job at all yet.
Well, if you go to university, it’ll be a few years before you have to worry about that.
Maybe, but I still need to start thinking, so I can choose my A level subjects.
Unit 2, Page 35, Ex. 5, Listening: A telephone call for Nina
(Nina should have slight German accent – her English needn’t be absolutely perfect, and at times she can
sound a little hesitant and also correct herself)
(German landline phone ringing)
Nina:
Schuster.
Mr Webb: (speaking rather deliberately) This is Colin Webb of Webb–Miller Architects calling from
Peterborough in England. Could I speak to Nina Schuster, please?
Nina:
This is Nina Schuster. Good morning, Mr Webb.
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Seite 15 von 22
Mr Webb: Good morning. I’m calling about your application for work experience.
Nina:
Yes. I’m very happy to hear from you.
Mr Webb: Yes, well, I thought it might be a good idea to phone and find out a little more. When exactly
were you hoping to do your work experience, and for how long?
Nina:
I like – I would like to come to England mid–July until mid–August.
Mr Webb: So you want to stay for a month?
Nina:
Yes, please. That would be great.
Mr Webb: I also wanted to ask you what you did during your work experience last summer with the
architects in Hamburg.
Nina:
I – er – I help with some letters, and I make – I made copies of plans for houses,
and –
Mr Webb: So you did general office duties.
Nina:
Yes. Sometimes I also went with architects to visit new houses from Design.
Mr Webb: A lot of work in our firm is designing individual houses, but we also often deal with projects
like hotels and community buildings.
Nina:
That sounds very interesting.
Mr Webb: Good. And what about accommodation? Would you need help finding somewhere to stay in
Peterborough?
Nina:
Thank you, no. My friends say I can live with them when – if I come to Peterborough.
Mr Webb: Ah yes, of course. You did say you have friends here. That’s good because I’m afraid we won’t
be able to pay you while you’re here.
Nina:
Yes, I know that, Mr Webb. That’s all right.
Mr Webb: Fine, Miss Schuster. It’s been very useful talking to you, and I think we’ll be able to offer you a
placement.
Nina:
Oh, thank you very much, Mr Webb.
Mr Webb: What will happen next is that I’ll send you a letter, suggesting definite dates for next summer. I
would, however, like to have a reference from, uh, Design architects in Hamburg if I could, and
a note from your parents saying they’re happy for you to come over, please. Would it be
possible to have a reference from your school in English, too, do you think?
Nina:
Yes, of course. No problem. I’ll ask my English teacher. And I’ve already got a reference from
Design architects in Hamburg in English.
Mr Webb: Fine. You can send everything when you reply to my letter. Well, that’s it for now. Goodbye,
Miss Schuster. You’ll be hearing from me very soon.
Nina:
I look forward to it. Thank you again. Goodbye, Mr Webb.
Unit 2, Page 37, Ex. 3, Listening: A job in a sport shop
(Interviewer is female – shouldn’t sound overly formal and speaks in friendly tone – Jason is quite chirpy
and on the whole speaks fluently – text makes clear where this breaks down)
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason.:
Good morning. My name is Ellen Nichols.
Hello. I’m Jason Hooper.
Please take a seat, Jason.
Thanks. I mean, thank you very much.
Right. So you’re Jason Hooper and you’re applying for the position of sales assistant with
Sportsworld.
Yeah. I really like the idea of working here. I’ve always loved sport and I know a lot about
the equipment for different games.
What’s your favourite sport?
Well, I play football myself. But I follow lots of different sports on TV. So I do have quite a
lot of knowledge and I’m sure I’d be able to talk to the customers quite well.
Good. I see from your CV you already have some experience of working in a shop.
Yeah, it was a Saturday job when I was still at school. It was a music shop. I like music. Not
as much as sport. But anyway, it was good experience and it taught me a lot.
What would you say you learned there?
Er – well, for example, how to use the computer system in the shop. And how to work in a
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Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Interviewer:
Jason:
Seite 16 von 22
team with the other assistants.
Yes, those are important skills. Now, on your application form it says you left school – let’s
see – four months ago.
Yes.
What have you been doing since then? Have you had a job?
(slightly flustered) Yeah, of course. I mean –
What have you been doing?
Well, I –
So you haven’t actually had a job.
No, I – I’ve been looking for the right job, you see. (recovering composure) I think it’s
important for me to get a job where I can do well and work my way up. That’s one of the
reasons why I’d love to work for Sportsworld. Because it has stores all over this region.
Fifteen or – no, sixteen. A new branch has just opened, hasn’t it?
Yes, we have sixteen now. Well, I can see you’ve done your homework on the company.
But maybe there are some questions you’d like to ask me.
Right. Yes. I wonder if you could give me some information about the pay, please.
Of course. You’ll find all the information you need in this leaflet here.
Thank you. And I’d be very interested to know if it’s possible for a sales assistant to become
a manager one day.
It is. I started as a sales assistant myself! Well, thank you, Jason. We’ll let you know by the
end of next week if your application has been successful.
Oh, right. OK
Goodbye.
Goodbye.
Teil 2
Topic 1
A
Responsibility only comes with age?
p. 9, Ex. 4, Listening: My big brother Jerry
Patrick:
Sophie:
Patrick:
Sophie:
Patrick.
Sophie:
Patrick:
Sophie:
Patrick:
Sophie:
Patrick.
Sophie:
Patrick:
Sophie:
So, your big brother Jerry has finally left home, has he?
Big brother? Big baby! My parents had to throw him out in the end.
Why? Didn’t he want to leave home? I would’ve thought that at his age, he’d …
Oh, no. Jerry found it very comfortable at home, with Mum to cook and clean for him, and the
keys to Dad’s BMW whenever he wanted. But when he finished college and got his first job,
my parents suggested it was time he moved out.
I’d leave home today if I could. Then I could do whatever I want, whenever I want, however I
want. Freedom, that’s what I want!
Yeah, it’s about independence, isn’t it?
Exactly. I’m fed up with people telling me to tidy my room, finish my homework, turn down
my stereo, do this, do that, blah blah blah. I can’t wait to have my own place.
Yeah, well, but moving out doesn’t necessarily mean nobody’s telling you what to do.
Anyway, you need to be ready for independence. Like, I thought Jerry was ready – after all,
he’s nearly twenty-two! The thing is, I went to visit him in his new flat yesterday and …
What, has he got his own flat already? Cool.
Well, he hasn’t got it all to himself. He shares it with three other guys, students.
So where is it, then?
It’s not far from where we live, actually. About a mile, I guess. And you know what? He’s
really changed since he moved. The way he looks, I mean! He’s shaved off his goatee beard
and he doesn’t wear earrings any more.
Really? I wonder why …
Well, he works in a bank now, and his boss wants him to look professional. When I saw Jerry
yesterday, he’d just come back from work and he was wearing a suit and tie!
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Patrick.
Sophie:
Patrick:
Sophie:
Patrick:
Sophie:
Patrick:
Sophie:
Patrick:
Sophie:
B
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Poor guy. Well, at least he’ll be earning enough to pay the rent.
Yeah. But I’m afraid there are some other things he will have to change.
What do you mean?
Well, you know, he’s always been completely useless in the house, that’s why he was in
trouble with Mum and Dad a lot. He’s only been gone a week, and his room is already in a
complete mess. It even stinks! When I visited him yesterday, there were loads of dirty plates
and mugs all over the place. Jerry never does any washing up. And he can’t cook to save his
life, so he’s been living on takeaway curries, chocolate biscuits, crisps and beer. But you
know what? Those guys he moved in with – they have a plan for each week saying whose
turn it is to do the shopping etc., clean the kitchen, the bathroom and even the loo! Really
tough for him, but he has no choice. – Oh, and there was this huge pile of dirty clothes on the
floor. He wanted me to take it all back to Mum to wash. I told him to take it back himself.
Isn’t there a washing machine in their flat?
Yeah, but actually he had no idea how to work it. And, would you believe it? I couldn’t help
him either. Embarrassing, isn’t it?
It can’t be that difficult.
Yeah, it is! These new machines have, like, little computers built into them. And we never
listened when Mum wanted to show it to us. But luckily Dave, one of Jerry’s flatmates, told
us how it works, and we wrote it down.
Um, maybe it does make sense to prepare for independence before you move out.
Oh yeah, obviously some things don’t get done by themselves.
Being a teenager
p. 11, Ex.3, Listening: Family life
Part 1
Mum:
Nick:
Mum:
Nick:
Mum:
Nick:
Mum:
Nick:
Mum:
Nick:
Mum:
Nick:
Mum:
Nick:
Mum:
Hello, Nick. What’s this about you having some people over on Friday?
Well, you know Ben and Louis, don’t you? Is it OK if they come over?
Of course it’s OK. But do they want to stay over?
Don’t worry, Mum. They’ll just doss down somewhere.
Ah! So they do want to stay?
Um – Tina and Angie might be coming too.
What? Girls?
Yes, those are girls’ names, I believe.
But, darling, where will you all sleep?
No problem. We’ll just need a few mattresses in my room.
You can’t get five people in your room, Nick.
Dom might have to come too.
Dom?
Yeah. You know, Tina’s little brother.
Now, just a moment, Nick. Let’s get this straight. You want to have four or maybe five people over
to stay on Friday?
Nick: Look Mum, we’ll be staying up really late so we won’t actually do much sleeping ...
Mum: Well, that’s no good. Then you’ll be dead tired the next day. And you’ve got tennis on Saturday.
Nick: You haven’t understood, Mum. What I mean is, we will ‘sleep’. But, you know, not ‘sleep
together’!
Mum: Well, what a relief!
(Dad enters.)
Dad: Who’s sleeping together? Am I missing something?
Mum: (sighing) Nick wants to have about half a dozen people to sleep over on Friday.
Nick: (indignantly) Not half a dozen! Five! Can’t you count?
Mum: OK, OK.
Nick: Though I did tell Angie she could bring Emma if she’s got nowhere else to go that night.
Dad: Nowhere else to go that night! Do these kids live on the street or something?
Nick: Dad! They just want to be somewhere where there’s a bit of action, that’s all.
Dad: And this action’s got to be here, has it?
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Mum: Look, Nick, we don’t mind sleepovers. But you must promise to clear up afterwards and not leave
all the work to us.
(Roddy comes downstairs)
Dad: Who’s that young man coming down the stairs. Hello, Stranger. (mock surprise) Oh, it’s our son
Roddy!
Roddy: Very funny, Dad. (opens front door) Well, see you guys.
Mum: But, Roddy, where are you going?
Roddy: Out.
Mum: And when can we expect you back?
Roddy: No idea. Not tonight I shouldn’t think.
Mum: But – where are you staying?
Roddy: Dunno. I’ll find somewhere.
Mum: Roddy! You’ve spent the past three nights away from home. As you’re off to Manchester next
week, how about spending a little time at home for a change?
Roddy: Yeah, that might be an idea. (The front door slams.)
Nick: You’re trying to keep him in, but you want to keep my friends out – is that it?
Dad: Come off it, Nick. This our family home – we’re not running a guest house.
Nick: Yes, but when Roddy goes to Manchester, his room will be free, won’t it? So maybe some of my
friends could move in while he’s away. What do you think?
Part 2
(Cottage interior with seaside noises from outside: seagulls crying, distant crashing of waves)
Mum: Well, isn’t this a sweet little cottage! Just right for a family holiday. What do you think, Anne?
Nick? Hey, what’s the matter with you two. You look quite pale.
Anne: (slowly) I really don’t believe it.
Mum: Don’t believe what?
Anne: How could you do this to us?
Mum: Do what?
Anne: There’s no fucking TV!
Nick: Yeah. We’ve looked everywhere. What a dump!
Mum: No TV? But is that really so important?
Anne: This is unbelievable! How could you do such a bitchy thing to us?
Mum: Look, we’re on holiday. There’ll be lots of other things to do.
Anne: Are you completely mad? (punching the door) I mean, how can we keep in touch with what’s
happening?
Dad: (outside) For the last time, who’s going to help me unload this car?
Nick: (coming in from another room) Don’t worry, you two, I’ve found the TV. Some idiot’s put it under
the stairs.
Anne: Oh, thanks, Roddy. But how do we know it works?
Roddy: Should do. There’s an aerial and everything.
Anne: (weakly) Yeah, but do they have cable here?
Roddy: Not sure, but there’s definitely TV, I promise, OK?
Mum: OK, is everybody happy now? Can we get on with enjoying our holiday? You can help Dad with
the car for a start.
Nick: (sniffs) And this place stinks, too!
Mum: No, it doesn’t, Nick. It’s good old sea air. I just opened a window.
Anne: Have you seen the bathroom, Mum? It hasn’t got a shower, so how the hell am I going to wash my
hair?
(A few days later)
Mum: What’s the matter, Nick?
Nick: I want to go home, Mum.
Mum: Why? Is this really such a terrible holiday? I mean, you told us what a wonderful time you had
cycling along the coastal paths. And we’ve rented DVDs. And you’ve been swimming. And the
beach is lovely.
Nick: It isn’t that this is a terrible holiday. It’s just that I have to get back to London. There’s things I
have to do there.
Dad: It’s not things you have to do, is it? It’s things you want to do. There is a difference, you know.
Mum: What things? When you were still in London, you sat around looking bored all the time.
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Nick:
Dad:
Nick:
Dad:
Nick:
Mum:
Nick:
Mum:
Anne:
Nick:
Dad:
Anne:
Nick:
Anne:
Mum:
Seite 19 von 22
All I need is a couple of days there. Then I won’t be so bloody pissed off about being here.
That’s enough of that language! The fact is, we are not letting you travel back to London on your
own.
Well, Roddy’s going back, isn’t he? So if I go back with him, I won’t be on my own.
Ah, but Roddy’s going to Manchester. He’s just changing trains in London. He won’t even be there
for a night.
OK, so why can’t I go home for one night and then catch a train back here?
Because we won’t let you stay at home alone, Nick. You’re only 14 years old.
(exasperated) Oh God! Why can’t you guys trust me?
Possibly because you never switch the lights off in your bedroom. Or because recently you left the
house with the front door wide open!
What you guys don’t seem to understand – (sound of seagulls gets louder)
Those fucking birds are driving me mad! (shouting) Shut up!
One more swearword from you, Nick, and I’m deducting from your allowance.
(to Nick) Thanks! I was going to defend you actually, Nick. But OK, forget it.
I don’t need to be defended by someone as stupid as you, Anne.
(sarcastically) Ooh, that really hurt!
That’s enough, you two. We’re taking Roddy to the station now. See you later. And please don’t
fight.
(Later. Mum and Dad arrive back at the cottage.))
Dad: Hi, you two. Are you speaking to each other again?
Nick: Guess what? We’ve been into the village to get some things. We thought maybe we’d have a picnic
on the beach this evening.
Anne: There’s some coke in the fridge. Can we take that, Mum?
Nick: We’ll need a torch for when it gets dark. You never know what could happen.
Anne: Oh yeah!
(They leave.)
Dad: That’s brilliant. One minute it’s Ozzie Osbourne, the next it’s Enid Blyton!
Mum: Now don’t make fun of them. You were young once.
Part 3
Mum:
Nick:
Dad:
Mum:
Nick:
Dad:
Mum:
Nick:
Dad:
Nick:
Mum:
Nick:
Dad:
Nick:
Mum:
Hello, Nick. Just what do you think you’re doing?
Just popping out. Be back in a minute.
Oh no, you won’t.
Nick! It’s late. Why aren’t you ready for bed?
’Cos I’m starving. I gotta eat something.
Because you didn’t eat your supper, that’s why.
You can have something from the fridge. Or some cereal.
I don’t want cereal. I want a burger.
Well, you can’t have a burger. Forget it.
I’ll be back in two minutes. I promise.
No, Nick. You’re not going to go up to the High Street at this time of night. It’s not safe.
(exasperated) The burger place is perfectly safe. Everybody’s there at this time.
How do you know? When have you been there at 11pm?
This is pathetic! I can look after myself.
I’m sorry, Nick, but you’re not going out. You should have eaten your supper like the rest of us. If
you’re hungry, you can have some cereal. Now go and get ready for bed. (Nick stands still.) Go on.
Nick: (weakly) What if I won’t?
(Roddy bursts in)
Mum: Oh, hello, Roddy.
Roddy: OK, who’s got my money?
Dad: What?
Roddy: The twenty quid I finally got back from Jimmy. It’s missing, and I want to know who’s stolen it?
Dad: What do you mean? Nobody here is going to steal money off you, Roddy.
Roddy: Well, give me the cleaner’s number then.
Mum: Why do you want Conchita’s number?
Roddy: So I can ask her where she’s put it, of course!
Nick: Well, I’m off.
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Dad: You stay right there, Nick.
Mum: Look, Roddy, Conchita would never touch any money she found in this house. So there’s no way
we’ll allow you to phone her.
Roddy: Who else could it be? The money’s not where I left it last night and she was here this morning –
Mum: Where did you leave it?
Roddy: (as if it’s obvious) On the floor in the living room.
Dad: Hold on, Roddy. Let me get this straight. You left £20 on the living room floor and you’re
surprised it’s not there any more?
Roddy: For Christ’s sake! I dropped it there last night and went to bed. I knew exactly where it was. And
when I looked for it this morning, it was gone – is that so hard to understand?
Nick: (laughs, then yawns) OK, I’m starving. I’m off.
Dad: (shouts) No!
Nick: I’m going.
Mum: Nick! Don’t you dare walk out of this house!
Nick: (weakly) OK, you win.
(Anne comes in.)
Anne: Hello. What’s going on?
Roddy: Anne, have you seen the money I left on the living room floor?
Anne: (slowly, teasing) Now let me think, how much money was it?
Roddy: Oh, get lost. It was twenty bloody quid and I need it for tomorrow night! My entire social life was
based on it. So what am I supposed to do now?
Topic 4
D
Culture and sports
p. 64, Ex.1 b), An interview with Gavin Hood
South African/UK co-production Tsotsi won the Best Foreign Language Film Oscar at the 2006 Academy
Awards and is loosely based on the novel by renowned playwright Athol Fugard. It’s a powerful drama
about a young thug (played by newcomer Presley Chweneyagae) whose life changes when he carjacks a
vehicle containing a baby. The film has put director Gavin Hood on the international map and he’s now
based in Los Angeles.
You shot the film on location in the shantytowns around Johannesburg. What was the experience
like?
The people in the shantytowns were absolutely amazing to us. Obviously the crew were saying, “Will it be
OK?” Some of our actors came from the shantytowns and some didn’t – one from the shantytowns is an
honours graduate in drama but I think he was more nervous about shooting there than I was. Our lead actor,
Presley Chweneyagae, his mum is actually a police officer – although she works in a pretty tough area. The
funny thing is people say to me, “What were they like?” The truth about people at every economic level of
life is you get those who are kind and who are not, those who are greedy, whether they be rich or poor.
That’s a common thread through humanity on any street you go to.
Tell us about the decision to shoot the film in the Tsotsi-Taal language …
The first question after the script was finished was what language it would be shot in. I’d written it in
English – although I also speak Afrikaans and Zulu – but South Africa has eleven languages. I really didn’t
want to make it in English because it’s not the language these street kids would speak. By not doing it in
English we weren’t going to get any big name actors, so we went through hoops initially and I’m grateful
to the financiers for letting us go for authenticity and shoot in Tsotsi-Taal – which means ‘gangster speak’.
It’s a blend of all sorts of languages. When you’re using this you have to cast carefully, and one of the
places my casting director goes to find young actors is the community theatre halls within the shantytowns.
And that’s where we found Presley.
What was he like to work with?
Presley’s a brilliant character, I think he’s a prodigy. He’s 19 years old and he’s always wanted to be an
actor. Comes from a tough area, has done a lot of work in community theatres, and he’s basically a selftaught method actor! The funny thing is, these kids have access to the internet. Presley is completely hip to
what’s happening out there, he’s watched tons of movies. Sometimes people in Europe are somewhat
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patronising towards these kids because they think they’ve had a tough life and therefore they don’t know
anything. Nonsense! Presley’s highly educated, intelligent and well-read.
When he came in to audition I’d seen a lot of people, some of whom were very good, but emotionally he
just blew me away. One of the things I needed most was actors who could spin on a dime emotionally –
Presley understood the transitions from extreme rage to vulnerability that just happens in the eyes.
How much research did you have to do about Tsotsi’s world?
Obviously I didn’t grow up in the shantytowns and people say to me, “What do you know about this life?”
But for me one of the privileges of being a writer is to poke your nose around and learn about worlds you
don’t know. If all we do is sit in our own patch then what are we really experiencing? In the early 90s I was
hired to write educational dramas about HIV and AIDS in the shantytowns. I did that for two and a half
years, and then I was hired on other films. When Tsotsi presented itself I thought, this is not a world I grew
up in, but I’ve spent a great deal of time writing about it and researching it in my past. It just seemed like a
story about compassion and dignity that I felt would be great to tell. And I hope that I’ve done it with
respect.
There’s a particularly realistic-looking scene in which ants crawl over a baby’s face. Reassure us that
it wasn’t real!
I think we have to put it out to the world that the ants that crawl on the baby’s face – which is a truly
horrific scene – are CGI, computer generated images. An extraordinarily talented CGI artist drew every one
of these ants. All of the scenes with the baby took forever to shoot. We had a sound recordist who would be
with mothers and we recorded a huge number of screaming babies. Half the problem we had during the
production is that we’d want the baby to be crying and it was fast asleep or just going [gentle sound]
“Gurgh, gurgh”. We’d have to put a louder crying sound in there that we’d recorded elsewhere and piece
the baby’s trauma together. It was also really tough getting the reaction shots we needed from the baby –
we shot a lot of stock. I’m in no hurry to work with a baby again, it has to be said!
Topic 5
A
Robots – in science fiction and reality
p. 73, Ex. 3, Listening: ‘I, Robot’
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Hi, Ian. Here’s that DVD back. Thanks for lending it to me.
Oh, “I, Robot” – great movie, isn’t it? Or what did you think?
Well, it had its moments, I suppose, but all in all I was a bit disappointed.
Really? I’m not a great science fiction fan, but I thought this had everything – an exciting plot,
witty dialogues, brilliant special effects. Maybe you should have seen it in the cinema first, like I
did. It’s more effective on the big screen.
Maybe. I mean, some of the action scenes are certainly spectacular, but, er, …
What was the problem then?
Well, I didn’t see it in the cinema when it came out because, you know, I’m a fan of Isaac
Asimov’s and I’d read some bad reviews of the film. And now I’ve finally seen it, maybe I’m
prejudiced, but to me it’s a complete travesty of the original book.
Well, I haven’t read Asimov. The stuff is fifty years old, isn’t it? But does the movie have to be
exactly like the book? I mean, does it actually matter?
The makers of the film obviously think it doesn’t. They’ve used the same title and two or three of
Asimov’s characters. And they go on and on about Asimov’s three laws of robotics. But nothing
else resembles the book in the least. The storyline is totally different. The Will Smith character
isn’t in the book. There are no car chases and big shoot-outs in the book, and definitely no
menace to humanity through homicidal robots!
OK, but that’s Hollywood, isn’t it? It’s entertainment – what people pay their money for. You
have to expect these things in a blockbuster that costs millions of dollars. But I personally
thought it was really gripping.
Gripping? Take that action scene at the end. You know, where they’re trying to destroy VIKI, the
evil super-computer that’s responsible for all the robots behaving strangely. They’re at the top of
that skyscraper, and the robots come after them and Will Smith and the girl are leaping around
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Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
Ian:
Cathy:
D
Seite 22 von 22
and shooting robots and falling off the edge and hanging on. Ridiculous! It was so obviously
computer generated I had to laugh. More of a comedy than a thriller.
Well, I can’t say I agree with you there, Cathy. But what about the plot? You must admit it really
kept you guessing and made for an exciting movie, didn’t it?
Hm! Not really. I guessed the ending about half way through.
You’re joking!
No, honestly. But quite apart from that, I found the story a bit implausible.
How do you mean?
Well, there’s this genius of a professor who is smart enough to invent all the robots. But when he
wants to tell the world that VIKI the evil supercomputer is starting to control them, what does he
do? He builds a robot that will kill him, so everybody except robot-hating Will Smith will think
it’s suicide. Then he leaves Will a few really difficult clues. This guarantees that it’ll take him
ages to eventually sort things out. There must be a smarter way!
I thought it was clever. The professor can’t do much because he’s imprisoned and controlled by
VIKI.
Even so. What a complicated way to get a message through!
But you have to admit that the story has a certain logic. The reason VIKI the supercomputer gets
robots to turn against humans is to protect humans from themselves. Because they’re slowly
destroying the world. So the robots are actually obeying Asimov’s laws of robotics. They won’t
allow humans to harm themselves.
So they go around killing them, eh? That’s pretty farfetched, isn’t it? I reckon Asimov will be
turning in his grave. Especially when his scientist Dr Susan Calvin starts firing at robots with a
machine gun!
Political correctness, Cathy. You can’t have men doing all the shooting.
Hollywood again. And Asimov’s daughter approved the film, although it really abuses his vision
of humans and robots working together. But do you know what really annoyed me?
No, but you’re going to tell me anyway.
The amount of totally unnecessary product placement.
Product placement? What products?
You name it. There was some pretty obvious and unsubtle advertising for Chuck Taylor shoes,
for the FedEx parcel service, for Audi cars, for JVC CD players, …
That’s nothing new. It helps to cover the costs. Cathy, remind me never to lend another DVD,
will you?
Well, you did ask me for my opinion!
Technology and the environment
p. 85, Ex. 2, Listening: FCC considers protecting birds from ‘towerkill’
The U.S. Federal Communications Commission or FCC is now considering whether it should take
protective measures to help prevent collisions of migratory songbirds with communications towers.
This is what some call ‘towerkill’, and it’s hard to know just how many birds are killed in this way each
year, but estimates are in the millions.
It happens most on cloudy or foggy nights, when tall communications towers turn on lights for aviation
safety. The lights refract off water particles in the air and create an illuminated area around the tower. On
clear nights, birds are thought to navigate by taking cues from the stars. But, in an overcast sky, birds can
end up circling the lights of communications towers. Some smash head-on into the towers, while others
collide with guy wires or other birds.
Albert Manville of the U.S. Fish and Wildlife Service told Earth & Sky that he believes there’s a need for
an industry standard for communications towers. That’s what the FCC is considering right now. Where
towers must be illuminated, a recent study showed that eliminating all steadily burning lights on tall towers
– while leaving on flashing lights – has been shown to reduce bird mortality by 71%.
Our thanks today to NASA: explore, discover, understand. We’re Block and Byrd for Earth and Sky.
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