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dgements
I would like to dedicate this book to myLMici^ntosF^nd to
all my students who were a great inspiration behind this
project. The following people in particular came up with
some really good ideas, gave me interesting pieces of
information and suggested various books to read: Massimo
Malcontent!, Francesco Marconi, Giovanni Mandorino
(and all at Tecsiel), Guja Vallerini (and all at Intecs), Maria
Turchetto (known to her cult followers as the Great
Turchett), Paolo Ghiretti (legal eagle), Rita Sacchelli, Marco
Delato, Antonella Pasotto, Giulia Gestri, Antonella Giani,
the Giuliani family, the Marino family, Marina Calafa,
Isabella Sbrana, Luca Belloni, Elisabetta Marchetti, Ilaria
Merusi, Cristiana Toccafondo, Emanuela Ghisoifi, Luca
Ferrami (musical inspiration), Luciana Fusar Poll (medical
consultant), Giovanni Cozzi, Barbara Bargagna, Monica
Ciampi, Paolo Bassi, Andrea Ceccolini, Carlo Bellanca,
Claudia Rege Cambrin, Luca Zamboni, Sergio Marchetti,
Guido Coli (and all at LIST), Gianluca Soria, Patrizia Caselli
(and all at SIAS). Thanks also to LIST SpA for technological
support, to International House in Pisa, in particular Chris
Powell, Paola Carranza, Lynne Graziani and Antonia Clare,
and to Tau Pei Lin, Honor Routledge and Acayo Marcheline
Lam for their voices and ideas. A special dedication to Adele
TuUoch for giving me a social conscience, and thanks and
love to Andreina Marchesi, Tommaso Wallwork and all my
family, and to Rupert Burgess and Tom Southern.
I would also like to thank the following people at
Cambridge University Press:
Jeanne McCarten, Geraldine
Mark, Noirin Burke and Isabella Wigan.
Particular thanks are due
to
the following institutions and
teachers for their help in testing the material and for the
invaluable feedback which they provided:
David Barnes,
The British Institute of Florence, Italy; Jon Butt,
International House, London; Bob Hastings, Eurolingua,
Cordoba, Spain; Marianne Hirtzel, I.L.A., Cambridge;
Anne McKee and Sue Noel, Chambre de Commerce,
Pontoise, France; Tony Robinson, Eurocentres, Cambridge;
Michael Turner, Chelsea and Holbom School, Barcelona,
Spain.
The author and publisher are grateful to the following
individuals and institutions who have given permission to
use copyright material. It has not been possible to identify
the sources of all the material used and in such cases the
publisher would welcome information from the copyright
owners.
HarperCollins Publishers for the extracts on p. 17
from
Tlie Healing Power of Colour
by Betty Ward and the
extract on p. 29 from
Sociology
by Haralambos; Litde Brown
& Co (UK) for the extract on p. 19 from
TTie Colour of Love
by Y. Alibhai-Brown; Margaret Pauflfley for the illustration
on p. 19; Popperfoto for the photographs on pp. 19, 51 and
65; excerpt on p. 25 from
1984hy
George Orwell, copyright
1949 and renewed 1977 by Sonia Brownell Orwell, reprinted
by permission of The Estate of the late Sonia Brownell
Orwell, Martin Seeker and Warburg Ltd and Harcourt Brace
and Company; Time Life Syndication for the extract on
p. 31 from Time Magazine, 17 June, 1991; Oxford
Cartographers for the maps on pp. 34 and 35; Addison-
Wesley Longman for the extract on p. 35 from
The Peters
Atlas of the World
by Professor Peters;
IIK Hamomisl
(or llic
extract on p. 35 from
The Economist,
25 March, 1989; Dc
Geillustreerde Pers BV, Amsterdam for the extracts on pp. 43
and 92 from
The World of Wonder,
Stampa Alternativa
(Collona Mille Lire) for the extracts on pp. 42 and 43 from
Papalagihy
Tuiavii di Tiavea; The Red Cross for the extracts
on pp. 50 and 51; Focus for the extract on p. 55 from
Focus,
February 1995; Guinness Publishing for the extracts on pp.
60 and 61 from
TTte Guinness Book of Numbers;
The Trustees
of G.P. Wells Deceased for the extract on p. 65 from /?
Short
History of the Worldby
H.G. Wells; Transworld Publishers
(UK and Commonwealth rights) and Writers House Inc.
(US and Canada rights) for the extract on p. 65 from
A Brief
History of Time
by Stephen Hawking; The Ancient Art &
Architecture Collection for the photographs on pp. 67 and
85; Telegraph Publications for the extract on p. 69 from
The
Best of Peter Simple,
© 1984; The Continuum Publishing
Group for the extract on p. 77 from
Gurdjiejf: Essays and
Reflections on the Man and His Teaching;
Millfield, Somerset
for the extract on p. 77 from their school prospectus; Panes
Pictures for the photographs on pp. 79 and 101; Virgin WH
Allen pic for the extract on p. 85 from
TheArtofLivinghy
Princess Beris ICandaouroff; Mark Read/Time Out for the
photograph of Big Ben on p. 85; Patina for the Swatch on p.
85; Piatkus Books (UK and Commonwealth rights) and Or
Lillian Glass (US and Canada rights) for the extract on p. 93
from
Confident Conversation;
Brinbo Books for the
illustration from
Take a closer look
by Keith Kay on p. 95;
Plenum Publishing Corporation for the extract on p. 97
from
Sex Roles, Vol 26,
May 1992; William Heinemann Ltd
(UK rights), HarperCollins Publishers (Australia and New
Zealand rights) and Simon & Schuster (US and Canada
righ'ts) for the extract on p. 99 from
How to Win Frinds and
Influence People by
Dale Carnegie; Ravette for the extract on
p. 101 from
TheXenophobe's Guide to the English;
Rogers,
Coleridge & White Ltd, 20 Powis Mews, London Wll IJN
for the extract on pp. 101 and 102 from
My Beautiful
Launderette
by Hanif Kureishi © 1986; Litde, Brown and
Company for the extract on p. 103 from
A Long Walk to
Freedom,
© 1994, Nelson Roliblshla Mandela; Sally and
Richard Greenhill for the photograph on p. 109; Solo
Syndication Ltd for the extract on p. Ill from
The Daily
Mail,
February 15, 1993; Respect For Animals for the
illustration on p. 11.
Illustrations by Dave Bowyer: pp. 15 (top), 25, 41, 57, 63, 71;
Graham Cox: pp. 13, 15 (bottom), 37, 43 (top), 45, 47 59,
73, 75, 87 (bottom), 89, 105, 107; Gary Wing: pp. 9, 11, 12,
23, 39, 43 (bottom), 49, 65, 81, 83, 87 (top), 91, 93, 95, 97
Acknowledgements
Introduction
Summary for t
hose in a hurry
•
Other uses:
Don't think that you have to use this book just
for discussions. Some ideas could lead you on to other areas:
vocabulary, grammar, composition writing, etc.
•
Flexibility:
Be flexible. Choose your own path through the
book. Select and adapt the tasks to suit your students' needs.
Rework the exercises or use them as models for your own
ideas.
•
Comments:
Please write to me at Cambridge and let me
know your opinions and criticisms on the book, or e-mail
me:
adrian@list.it
.
• Structure: There are 26 topic-related units - one for each
letter of the alphabet. Topics overlap between units, which
means that you can pass from one unit to another giving
your students a sense of thematic continuity.
• Level and use: 'Intermediate' covers an incredibly wide
spectrum of levels. You may find that you have to skip some
exercises (e.g. some of the hstening and reading passages) as
they may be too difficult for your intermediate class. This
shouldn't, however, mean that you can't proceed with the
discussion - the discussion questions which follow the
reading passages don't presuppose having read the text itself
Use the book both for back-up material to your coursebook,
or independentlyjas the basis for a conversation course.
Nearly all of the exercises can also be exploited with more
advanced classes.
• Choosing exercises: Don't feel you have to do every
exercise from every unit. Combine exercises from various
units as you choose both from this book and from
Discussions A~Z Advanced {which
has many exercises that
can be exploited at lower levels too). Don't follow the order
of the exercises unless you want to (or unless advised in the
teacher's notes), though you might like, to begin with the
first exercise in Appearances and end with the
Fun with
English section in English. Use the
Subject index
and
Links index to find related exercises in other units.
• Timing: Exercises vary in length from five to about ninety
minutes depending on your students' level and interest in
the topic. Don't impose any rigorous time limits unless you
have to, but don't persevere with a discussion that's getting
nowhere. However, it is important that students feel they
have completed an exercise and been linguistically
productive in the process.
> Personalisation: Try and relate exercises to current events
and things relevant to,your own students' lives.
I Taboo: Some topics may be sensitive for your students -
they are marked with a %. Don't let this put you off doing
them unless you're sure they will react badly. If you think
they might, make sure you have back-up material ready (for
example, exercises from the Quizzes or You units).
Discussion groups: Most of the discussion exercises work
best in pairs or small groups. Explain to students that you
won't interrupt them while they talk (unless you notice
them repeatedly making the same mistake), but that you'll
note down mistakes they make for analysis at a later point.
In any case, before embarking on an exercise you should
anticipate any vocabulary and grammar problems that are
likely to arise, and revise these beforehand if necessary.
With more reticent classes you may need to drill or feed
them with relevant structures useftil for the specific
discussion task.
Speaking
Most exercises on the student's page consist of a set of
questions to discuss. When these questions are preceded by
an introductory reading passage they should not be treated
as comprehension questions but as a springboard to
discussion. If you see no logical ordering in the numbering
of the questions let students read all the questions, and then
just select the ones they wish to discuss. Alternatively divide
students into small groups and ask them to discuss only the
first five often questions, for example. Those who finish
their discussion quickly can be asked to move on to the
other questions, whilst the more loquacious groups are
given enough time to finish their debates.
Don't let students think they have to stick to answering the
questions directly. Let them float around the questions and
bring in their own ideas.
Questions not discussed in the lesson can be set as titles for
compositions for homework; or written summaries can be
made of those questions that were answered during the lesson.
Reading
Most of texts are authentic and come from a variety of
sources; some have been condensed or slightly modified.
They have been kept deliberately short and are
not
designed
to develop specific reading skills. Encourage students to
guess:
• where the texts come from - newspapers, scientific
journals, women's magazines, letters, interviews, literary
works.
• why they were written - to inform, instruct, convince,
advise, shock, amuse, deceive.
• who they were written for - age group, sex, nationality,
specialist, casual reader
• when they were written (where applicable).
Although the aim of the text is not to act as a
comprehension exercise, students should obviously
understand most of what they read. Before photocopying,
underline in pencil any parts that you feel are essential for
an understanding of the text. Check the meaning of these
before going on to look at the text in more detail.
Introduction
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