Sumários

Cambridge Proficiency style Reading and Listening Comprehension exercises

1 Fevereiro 2023, 17:00 • Cecília Maria Beecher Martins

Students had done a Cambridge style reading comprehension exercises at home (Is this Art? pp44-45 manual) and they discussed their answers in small groups before we did the correction of the exercise in class. Discussion of structure answers as well as content.

Then students did a listening comprehension exercise to J. K. Rowling's Commencement speech "The fringe benefits of failure and the importance of imagination) p 46 manual. Discussion of content and answers. Full text is on pp 47-51 of manual.

Cambridge Proficiency style reading and listening comprehension exercises

1 Fevereiro 2023, 11:00 • Cecília Maria Beecher Martins

Discussion of the purpose of the arts in society

27 Janeiro 2023, 17:00 • Cecília Maria Beecher Martins

In groups of 3-5, students discussed the points on the Johns Hopkins School of Education checklist "Why the Arts are Important" which led to a general class discussion of the importance of the arts in society.

We also discussed the topic, what is art? comparing examples of classical art to contemporary art.

Students must do the reading comprehension exercise "Is it Art?" on pages 44-45 of the course manual for the next class.

Discussion of the purpose of the arts in society

27 Janeiro 2023, 11:00 • Cecília Maria Beecher Martins

We also discussed the topic, what is art? comparing examples of classical art to contemporary art.

Students must do the reading comprehension exercise "Is it Art?" on pages 44-45 of the course manual for the next class.

Presentation of Program and Evaluation system

25 Janeiro 2023, 17:00 • Cecília Maria Beecher Martins

General Objects for English in the World of the Arts: C2

At the end of this UC, students will know how to develop a reflective and analytical encounter with the arts (literature, cinema, TV and comics) in English. They will learn a range of analytical techniques such as close reading of literary texts, visual literacy, adaptation studies and other academic techniques of literary and film analysis while considering how the arts reflect society and drive social change.

Students will express themselves spontaneously in the spoken and written form of the language, with a high level of fluency and accuracy in accordance with CEFR standards for level C2.

Program

While following the CEFR guidelines for Academic English at a C2 level, the expectations and specificities of language learning related to “the world of the arts” at a School of Arts and Humanities were also considered in the construction of the course programme.

The role of the arts in society in general and the potential of the arts as vehicles for epistemic justice (Fricker Epistemic Injustice 2007), and personal reflection (Holland Meeting Movies 2006, Holland & Schwartz Know Thyself 2008) will be explored.

Also, working with literature, film and TV series, students will be introduced to the vocabulary and techniques of close reading for literary texts as well as visual literacy applied to film and TV series, and then perform individual exercises. They will also be introduced to the concepts associated with adaptation from text to screen and discuss different approaches and methods. Students will then work individually with one of the set novels.

Moreover, as this is a C2 English language level, throughout the semester, students will perform a variety of writing and oral exercises to illustrate their dominion of the English language, as well as CPE Use of English exercises.

Students will use tools offered in the aforementioned texts in their written assignments. However, while working on technical analysis, students will also be encouraged to reflect on the following questions:

What is art?

What makes great literature?

How come some artists and writers die in poverty but their work makes them immortal – other enjoy fame and fortune while alive, but their work is quickly forgotten?

What contemporary writers/artists will be still valued in the next century and what best-selling authors’ names will be forgotten in the next generation?

Why are some classics, not only revered in their original form, but also transposed into other art forms and/or returned to by successive generations of artists and writers?

Do the arts reflect or impulse change in society?

Are the arts changed by society?

Reference Reading:

Barnet, Sylvan and William E. Cain. A Short Guide to Writing about Literature 12^th Ed. Longman. 2011.

Corrigan, Timothy. A Short Guide to Writing about Film 8^th Ed. New York: Longman, 2012.

Fricker, Miranda Epistemic Injustice: Power and the Ethics of Knowing. OUP. 2007.

Herman, David (ed) The Cambridge Companion to Narrative. CUP. 2007.

Holland, Norman Meeting Movies. Fairleigh Dickinson University Press, 2006.

Holland, Norman & Murray Schwartz. Know Thyself: The Delphi Seminars. PsyArt Foundation. 2008

Relevant extracts from these texts will be found in the Anthology available at the beginning of the semester.

Students must also read one the following novels:

Patricia Highsmith. The Talented Mr. Ripley. 1955.

Harper Lee. To Kill a Mocking Bird. 1960.

Harper Lee. Go Set a Watchman. 2015.

And work with one the following films:

John Madden. dir. My Shakespeare in Love. 1998.

Anthony Minghella. dir. The Talented Mr. Ripley. 1999.

Robert Mulligan. dir To Kill a Mocking Bird. 1962.

Notes on Participation Attendance and Punctuality: Active participation in both class and group discussions is not only reflected in your final mark but it also ensures you develop fluency and confidence. Classes start ten minutes after the hour. Your presence and arrival on time is essential and will be reflected on your final mark — being late not only disturbs class but is also a sign of disrespect for your classmates and your teacher. Please let me know at the beginning of class if you need to leave class early for any formal motive or if you are expecting an urgent phone call. Smart Phones, tablets and laptop are only to be used for class purposes.

Please note that the Test date has been set, but extenuating circumstances sometimes require changes in the Course Calendar.

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Grading and Assessment

A student-centred teaching approach will be used following a task-based methodology.

Students will be presented with the working/research methods and then work individually with the materials in the research set of their choice for their oral presentation and research essay.

40% Written test – this will be based on the theoretical content presented and set novel 21^st April 2023.

15% Continuous Assessment: students will be expected to read and discuss the theoretical texts presented during the semester.

15% Oral Presentation: Students will deliver a 10-minute close reading of a film still, short clip or short extract from either the film or the book in their research set.

A 100-150-word section of the literary text will suffice for the close reading.

1-2 film stills or a 1-minute excerpt will suffice for the visual literacy exercise.

Both exercises should begin:

1) locating the extract/still/scene in the original text and contextualise it in terms of relevance

2) read the text/show the still and ask students to pick out the elements that stand out to them – because of class size there will be 2-3 discussants for each presentation.

3) perform the analysis – incorporating the elements illustrated by students

4) finish by referring to how the extract/stills/scene selected informed, drive or altered the narrative flow of the film.

30% Essay (1,000 words) Students will work individually and write a research essay on any aspect of the novel they have read that connects with the theoretical texts worked with during the semester. The final essay must be submitted by 5^th May.

A 150-word abstract presenting the central research question and methodology and at least 2 references will be submitted by email on 24^th March 2023 to permit discussion.